The Comedy Bible: From Stand-up to Sitcom--The Comedy Writer's Ultimate

Are you funny? W a n t to have a career in comedy?

' U n t i l comedians

This book can show y o u h o w to t u r n your sense of

can enrol in a

humour i n t o a m o n e y - m a k i n g career—and

comedy 101

that's no joke!

humourversity

Whether you yearn to create a killer stand-up act, w r i t e

course at t h e

a sitcom, or be the star of your o w n one-person show,

school of hard

Judy Carter will help you develop your comedy skills and

knock-knocks,

show y o u h o w t o make money f r o m being f u n n y .

this is t h e next

W r i t t e n in Carter's unique, take-no-prisoners voice, The Comedy Bible is practical, inspirational and funny. Using a hands-on workbook f o r m a t , Judy Carter offers a series of day-by-day exercises d r a w n f r o m her wide experience as b o t h a comic and comedy w r i t e r . Learn not only how to w r i t e jokes, speeches and scripts, but also where to sell t h e m , how to pitch t h e m , and even how to n e g o t i a t e a contract. Along w i t h p r o v i d i n g additional 'insider' tips f r o m her celebrity friends, Carter shows you ways y o u can t u r n comedy i n t o cash t h a t you have never t h o u g h t of before.

Judy Carter started her career as a stand-up comic, headlining in clubs across t h e U.S. and being f e a t u r e d on over 100 TV shows. She founded Comedy Workshops in Los Angeles, where she trains wannabe comics as well as produces t h e annual California Comedy Conference. Many t o p Hollywood agents, managers, producers and casting directors a t t e n d this key comedy event, and it has become t h e place to get discovered. She has caught the imagination of the corporate world w i t h her novel technique of ' t u r n i n g problems i n t o punchlines'. Her first book, Standup Comedy: The Book, has sold over 150,000 copies.

best t h i n g / Wil Anderson

'Turning humor into a career is not as easy as it sounds. In The Comedy Bible, Judy Carter has made it much easier.' Bernie Brillstein, founding partner of Brillstein-Grey Entertainment, Hollywood's premier talent manager who oversaw the careers of John Belushi, Gilda Radner and Dan Ackroyd.

'This is a fine book and can improve your standup comedy as long as you don't take it up on stage with you.' Garry Shandling, comic

'I started my comedy career in Judy Carter's workshop.' Tom Shadyac, director of Bruce Almighty, Patch Adams, Liar Liar, The Nutty Professor and Ace Ventura: Pet Detective

'This book is a great hands-on, how-to guide for anyone considering a career in comedy. It will teach you to take life's lemons and make them into laughs. Cindy Chupack, author of The Between Boyfriends Book and award-winning writer and producer of Sex and the City and Everybody Loves Raymond

Judy Carter has appeared in clubs across the US, as well as on many TV shows, has coached over 5,000 comics in comedy workshops, and has brought her message of 'turning problems into punchlines' to Fortune 500 companies. She has been featured in The Wall Street Journal and on Oprah.

THE

COMEDY BIBLE JUDY CARTER From stand-up to sitcom... The comedy writer's ultimate how-to

guide

CURRENCY PRESS, SYDNEY

BY THE SAME AUTHOR Stand-Up Comedy: The Book

Acknowledgments

I

t takes a lot of people to make a book like this happen, especially if the writer is someone who got a D in high school English. Special thanks to: Chuck Adams, my editor and friend, who by this time could headline at any comedy club. Jandy Nelson, my agent at Manus & Associates Literary Agency, who showed me that lunch with an agent could be a lot of fun, especially if you don't remember where you've parked your car. Margot Black, for assisting in arranging interviews. Kathy Fielding, for transcribing everything, and Julie Gardner, for all her assistance in running comedy workshops and putting up with me when I'm not so funny. Ben Richardson, for your talent, jokes, commas, and breaking me out of a record-breaking writer's block. Gina Rubinstein, who next time will be more careful before saying. "Sure, I'll give it a read." All of my students, who taught me much more than I taught them. The comedy professionals who contributed time and material to this book—Bernie Brillstein, Bruce Hills, Bruce Smith, Carol Leifer, Cathy Ladman, Chris Adams, Chris Mazzilli, Christopher Titus, Cindy Chupack, Dean Lewis, Debbie Kasper, Delilah Romos, Diane Nichols, Ed Yeager, Ellen Sandler, Emily Levine, Gabe Adelson, George Wallace. Greg Proops, Irene Penn, Judi Brown. Kathy Griffen. Kathy Anderson, Leigh

Fortier, Lilly Walters, Mark Travis, Michael Hanel, Michelle Marx, Phyllis Diller, Richard Jeni, Richard Lewis, Rob Lotterstein, Robin Roberts, Robin Scruff, Rocky LaPorte, Steve Marmel, Sue Kolinsky, Susan Leslie, Sybil Adelman Sage, T. J. Markvvalter, Tim Bagley, Tom Dreeson, Tom Shadyac, Wendy Kamenoff. Sarah Levctt, a gorgeous A N D funny Australian comic who was brilliant in putting together the appendix for the 'Down Under' edition of The Comedy Bible.

Content?

About This Book

Part One: Warm-up—Is There Any Hope for You? What Do You Want to Be When You Grow Up? Performing Comedy Writing Comedy Marketing Corned)' The Right Stuff—Do You Have What It Takes? The Yuk Factor You Are As Funny As You Think Starting with Your Ideas Habits: Honoring Your Ideas The Funnv Zone Getting into the Zone Comedy . . . Be Afraid, Be Very Afraid Fear—It's a Good Thing Comedy Buddies: Finding Your Fun Mate Quit While You're Ahead Commitment Contract The Comedy Bible's Ten Commandments

19

2S 27 27 28 30 32 32 33 36 39 41 42 44 4.5 50 51 55 56

Part Two: Comedy Workshop

61

Prep Step 1: Picking a Show

229

26 Days to Killer Comedy Material

63

Prep Step 2: Get Scripts and VHS Copies of Your Show

230

Day 1: Get a Gig

66

Prep Step 3: Dissect the Show

231

Day 2: Learn Joke Structure—the Setup

69

Prep Step 4: Understanding Sitcom Structure

233

Prep Step 5: Sitcom Formatting

235

Day 3: Learn Joke Structure—the Funny Part (Comedy Buddy Day) Day 4: Learn by Watching

82 101

Day 5: Your Life Is a Joke—Finding Your Authentic

Prep Step 6: Starting at the End

238

Prep Step 7: Committing to Finishing

239

Sitcom Day 1: Getting Sitcom Story Ideas

240

111

Sitcom Day 2: Turning Life Stories into Sitcom Plots

244

D a y 6: Writing More Authentic Premises

118

Sitcom Day 3: Turning Current Events into Sitcom

Day 7: More Authentic Topics (Comedy Buddy Day)

119

Day 8: Fine-Tuning Your Topics—Relatable Topics

125

Topics (Comedy Ruddy Day)

Stories

246

Sitcom Day 4: Honing in on Your Sitcom Plot

247

Sitcom Day 5: From Joke Structure to Story Structure

249

132

Sitcom Day 6: T h e Story Arc

251

137

Sitcom Day 7: The Outline

254

D a y 13: Honing Your Material (Comedy Buddy Day)

144

Sitcom Day 8: Detailing Your Outline

256

Day 14: Getting Ready to Perform (Comedy Buddy Day)

154

Sitcom Day 9: Writing the Burn Draft

257

Day 15: Dress Rehearsal (Comedy Buddy Day)

157

Sitcom Day 10: The Story Pass—Trimming

258

Day 16: Your Gig

161

Sitcom Day 11: T h e Story Pass—Heighten the Obstacles

259

Day 17: Celebrate

165

Sitcom Day 12: The Story Pass—Structure

260

D a y 18: Performance Review—Reworking Material

165

Sitcom Day 13: Punch-up Pass—Getting It Funny

260

Days 9, 10, 1 1 : Getting It Funny (3-Day jam Session with Your Comedy Buddy) D a y 12: Organizing Your Set List

Day 19: Adding Current-Event Material (Comedy Buddy Day)

Sitcom Day 14: Getting It Funnier

261

171

Sitcom Day 15: Color Pass

261

Day 20: Creating Cutting-Edge Premises

177

Sitcom Day 16: Read-through

261

Day 2 1 : Topic Runs

180

Sitcom Day 17: Rewrite

262

Day 2 2 : Honing Material—"Take Two"

185

Sitcom Day 18: Getting Read

263

Day 2 3 : Throwing O u t the Clunkers

190

Sitcom Day 19: Final Rewrite

264

Day 24: Getting Ready for Your Second Performance

192

Day 25: Performance

200

Other Comedy Fields Writing for O t h e r Comics

265

D a y 2 6 : About Last Night . . . H o w Good Were You?

200

Writing and Performing for Radio Shows

266 267

265

203

Improv

Living Funny

203

T V Warm-up

268

Daily Exercises to Generate Comedy Material

204

H u m o r Essays, Opinion Pieces, and Articles

269

212

Motivational Humorist

271

Part T h r e e : f u n n y M o n e y

273

Advanced Stand-up Exercise:

Creating Your Own One-Person Show H o w lo Pul Together Your Own One-Person Show

217

Mounting a Production

224

19 Days to Writing Your Sitcom Spec Script

226

Top Ten Reasons for Writing Sitcoms

226

Spec Scripts Preparation for Writing a Spec Script—2 to 8 Weeks

227 228

Carter's 3-Step Comedy Business Strategy Comedy Menu Step 1: Get Good Getting Good Tip # I: Create a Ton of Material

275 276 282 282

Getting Good Tip #2 (for Performers): Get As Much Stage Time As Possible Getting Good Tip # 3 : Study Other Comics and Comedy Writers Getting Good Tip # 4 : Get Help Getting Good Tip # 5 : Set Challenging Goals Step 2: Get Noticed Getting Noticed Tip # 1 : Highlight Your Persona Getting Noticed Tip # 2 : Have Professional Materials Getting Noticed Tip # 3 : Find Your Audience Getting Noticed Tip #4: Work the Media Getting Noticed Tip # 5 : Showcasing and Comedy Festivals Step 3: Get Paid

Getting Paid Tip # 1: Represent Yourself Getting Paid Tip # 2 : Diversify Getting Paid Tip # 3 : Get Professional Contacts Getting Paid Tip #4: How to Get Big Shots on the Phone Getting Paid Tip # 5 : Negotiations and Contracts Getting Paid Tip # 6 : Turn One lob into Many And Finally . . . How to Get All the Attention and Love You Could Ever Want

Appendix

284 287 287 290 292 293 296 299 302 305 311

313 320 326 329 334 335 337

339

Comedy Agents and Managers

339

Comedy Rooms

340

Contacts

347

Comedy Events

349

I

n the beginning, God created heaven and earth.

Cireat opening line—but unfortunately, already been used. And thou shalt not steal material, especially from God. But then, that's an entirely different kind of "bible," at least in most respects. What that Bible and this bible have in common is wisdom. Wanna learn how to love thv neighbor? Read that one. Wanna learn how to make thy neighbor laugh? Read this one. This version of the bible will show you how to discover your originality, craft it, and turn your sense of humor into a moneymaking comedy career—no joke! The Comedy Bible—don't be fanny without it. If you're serious about comedy, then here's whv you need this book: • • • • • •

Because you hear others say, "Hey, you're fanny vou should be a comedian." Because vou want to quit your day job and make money being funny. Because you would like to turn those ideas jotted down on scraps of paper into sitcom scripts. Because vou think that you're as funny as the schmucks vou see on TV. Because sometimes when you see a new sitcom or hear a comic tell a joke you say, "I thought of that!" Because you think people are stealing your comedy ideas, and vou'd do something about it but vou can't get off the couch.

Even the best comics started out doing something else. Jay Leno started out as an auto mechanic. The late, brilliant Sam Kenison was a Catholic priest before he started doing stand-up. Writer/producer Barry Kemp, Emmy-nominated writer of Taxi and producer/creator of Newhart and Coach, started as an insurance salesman in Phoenix. Rodney Dangerfield was selling house paint before he became famous—which might be why he didn't "get no respect."

craft. If you have a gift for comedy, then 1 can show you how to shape your gift into the sort of "funny" that will get you noticed and paid. The proof? After taking my eight-week course, many beginning stand-up comics have been signed, often after their first performance, by some of the biggest and most powerful agents, managers, and studios. And some stand-up students who have gone on to become successful writers found that their scripts read more humorously and sold more easily because diey could pitch funny Of course, just as there are specific things you can do to make your career happen, there also are things that will kill and sabotage your success. This book will tell you which is which. Believe me, I know, because I've done it all—the good, the bad, and the unfunny.

If you have a talent for making people laugh, there are a lot of opportunities for fun and profit just waiting for you. And a person can make it in the funny business without ever getting onstage. Comics express themselves in many different ways. Many, of course, do get onstage, acting and doing stand-up, but others write sitcoms, screenplays, and songs, while others express themselves through cartoons, advertising, and more. People who know the craft of comedy writing are pursued and paid well for their talent. From politicians to manufacturers, everyone has got something to sell, and comedy sells it best. It's no wonder, then, that many politicians have a staff of comedy writers working for them so that they don't become big jokes themselves. They know also that ideas presented with humor become the sound biles that make the six o'clock news. And of course, advertisers know that commercials that make a jaded TV audience laugh will move merchandise more effectively than any other method. Even Hallmark employs comedy writers to write their humorous cards.

I have been very fortunate to make a living doing what I love most—comedy. I've worked at only one nine-to-five job in my life—teaching theater for two years at a private boys' school in Los Angeles. Other than that, for twenty-five years I've made a living performing, writing, and teaching comedy (all of which is not bad for a twenty-nine-year-old). For the first ten years of my career I did clubs and television shows. At the height of my performing career I was on the tube even' week and on the road forty weeks a vear as a headliner in comedy clubs and concert venues. I was nominated lor Atlantic City's Entertainer of the Year award for my performances ai Caesars Palace. I have produced and written television shows. I've written books that have won awards (OK, one book that won one award), seen my film scripts optioned and my plays produced.

Some of the funniest people I know are waiting tables, cleaning houses, temping in offices, and whining about their lack of success while less gifted comics and writers are making millions. W h y not you? No matter what your day job is now, you could make a living doing comedy, although very seldom docs real success come over night.

Humor can even get you dates. Just look at the personal ads—"sense of humor" is the number one requirement of many people seeking a mate. But the big question is, how do you go from being one of the guys who gets drunk at parties and lights his farts to being a Jim Carrey, who gets paid over $50 million a year to light his farts? After ten years of running comedy workshops, coaching over live thousand comics, and doing stand-up at thousands of events myself, 1 have developed an understanding of what it takes to be successful in comedy—and it isn't luck, relatives in the business, or a boob job. Those things may get you in the door, but they aren't going to make people laugh—unless, of course, it was a really bad boob job. What it takes to make it as a comic or as a comedy writer is a combination of talent and

Sometimes I look at the things I own and marvel: "This outfit cost me three jokes." "This home cost me one script—but. ten drafts!" After all these years, I still am amazed at being able to make a living off my sense of humor. But this book is based only partially on my successes. In fact, it's based mostly on my mistakes and failures. Like when I had too much t'me in the greenroom before going on national TV and decided at the as t minute to throw all my material out the window and do something new—-and unfunny. Like the time I spent doing material that I didn't H-lieve in because I wanted to be what I thought was commercial. The tone I didn't sign with a major manager because I was seared of success. ' h e time I finally had an audition with a top television producer and let

"When adults ask kids, 'What do you want to be when you grow up?' they're just looking for clues themselves." — P A U L A POUNDSTONE

There are a lot of ways to make a living from comedy. You can perform it, write it, draw it, or manage if. From the list below, check which ones you're interested in or think you know you're good at.

Q

Stand-up c o m i c

Depending on the quality of your act. you can work at comedy clubs, hotels, concert venues, colleges, or corporate meetings, on cruise ships, at open mikes, or at your aunt Thelma's eightieth birthday party. -I I m p r o v i s e r Sketch TV shows such as Saturday Night Live and Mad TV scout improVisers from improv troupes such as Second City (in Chicago and Toronto) and the Groundlings (in Los Angeles), as well as improv festivals (Austin, fexas, Montreal, C a n a d a ) . Improvisers are in d e m a n d for acting and TV commercials as well as for voice-over work, feature animation, and game shows.

Commercial actor Funny people who can add sizzle to ad copv are cast in high-paying TV commercials. U Voice-over p e r f o r m e r

Seinfeld became billionaires when they turned their stand-up acts into one of the most successful sitcoms ever—Seinfeld.

_)

•

Comedy timing and technique are required in this field, which needs comics to add funny character voices to cartoons, TV commercials, and J

D

or adding laughs to, a script. •

Comedy directors often start their careers with live performances. Betty

W a r m - u p for TV s h o w s

Thomas started in an improv troupe a n d went, on to direct features such

Most TV shows hire a comic to warm up t h e live studio audience before

as Die Brady Bunch Movie. Tom Shadyac, director of Patch Adams, Liar,

a n d during the taping of TV shows and infomercials.

Liar, and Tlie Nutty Professor, actually started o u t in my stand-up work-

Radio comedy

shop. Two years later, he directed his first feature. Ace Ventura. •

•

Literary writing

famous and rich man. Radio stations buy prerecorded song parodies,

"Funny" can also translate into books, magazine articles, and newspaper

impersonations, and other comedy bits produced by small production

columns. George Carlin turned his unused stand-up material into the

houses that specialize in creating this type of material.

book Brain Droppings. Comedy director/screenwriter Nora Ephron (You've

Radio talk show h o s t

(jot Mail, Sleepless in Seattle) wrote short funny magazine pieces that later

As more talk shows fill the AM a n d FM airwaves, radio producers are

became a popular book, Mixed Nuts. Dave Barry expresses his "funny" in a nationally syndicated column a n d in books.

turning to comics to keep their listeners laughing and listening. •

Screcnwriting a n d directing

feature animation.

Funny song parodies turned unknown "Weird Al" Yankovic into a

•

Punch-up TV a n d film producers hire comics for the important job of punching up,

Cruise ship entertainer

•

Development and producing

Imagine doing your act for your grandmother—that's the kind of act you

Funny ideas often translate into projects for commercial TV and film.

need to work cruise ships. If you've got four different twenty-minute

Paul Reubens's character Pee-wee H e r m a n started out as a character in

clean sets and don't mind living with your audience for a few weeks, then

an improv show at the Groundlings. It turned into an H B O special, two

this could be for vou.

feature films, and an award-winning children's TV series.

Corporate humorist

•

Animation writing

If you can make people laugh with clean material, t h e n entertaining at

All major studios actively look for funny people to write and punch up

corporate events might be just your thing.

their TV and feature animation projects. Irene Mecchi began as a comedy writer, writing comedy material for Lily Tomlin. Now she works for Disney animation and was the screenwriter of Tlie Lion King. •

Internet work Because a good laugh can stop an Internet surfer at a Web site, companies such as Excite, Yahoo!, and AOL hire comics to write catchy copy.

• Customized stand-up material Some stand-up comics who perform supplement their income by writing

•

Q

Speechwriting

for other comics. And then there are those funny people who have never

Many CEOs and politicians turn to comedy writers to provide sound

done stand-up themselves but who write it for others, such as funnyman

bites so that they get noticed, win over their audiences, and don't get

Bruce Vilanch, who writes for Betle Midler and the Academy Awards show.

stuck with their foot in their m o u t h .

TV s i t c o m s Comics are hired to staff sitcoms or develop sitcoms for stand-up comics

"I know what they say about me—that I'm so stiff that racks buy their suits

who have development deals. Many of the most successful sitcoms are

off me."

based on stand-up comedy acts. Stand-up comics Larry David a n d Jerry

— A l G0RE, 1 9 9 8 , WRITTEN BY MARK KATZ

•

Merchandising runny ideas can turn into funny products, such as Pet Rocks, screen savers, or greeting cards. Skyler Thomas, who started writing jokes in my class, put his jokes on T-shirts. They became major sellers and he now runs a multimillion-dollar T-shirt business called Don't Panic, with stores throughout America.

• Ad copy Who do you think writes those funny bits in ads that gel your attention? Comedy writers. "Most relationships don't last as long as the LA. Marathon." — L A . BILLBOARD

• Managing and booking Many agents and managers started by putting shows together for themselves and ended up booking others. Right now, of course, you don't need to make a commitment to any specific comedy field. Actually, no matter which field of comedy you are interested in at the start of this book, be open to the possibility of shifting winds. You might be totally committed to performing stand-up until someone offers you a $50,000-a-year job writing funny ads for toilet cleaners. It could happen. You might start off thinking you want to be a stand-up comic and end up discovering thai you have a lot of ideas that can work as sitcoms. Billy Riback started out doing stand-up at the Improv at $25 a night, and now he produces comedy TV shows making millions. Conan O'Brien and Garry Shandling were both sitcom writers before they became comedy stars. In 1978 David Letterman was a joke writer for Jimmie "Dy-No-Mite" Walker. The Zucker brothers and )itn Abrahams, who created and directed the movies Airplane!, Naked Gun, and Ghost, began their careers in a comedy improv troupe in Madison, Wisconsin, called Kentucky Fried Theater. And then there's Gary Coleman, who started off as a comedy actor starring in his own sitcom and ended up as a security guard. Go figure! The various fields of comedy can morph into one another. Sometimes a comic's act becomes the basis for a sitcom (Roseanne), or a screenplay

becomes a sitcom (M*A*S*H, Suddenly Susan). Even jokes have become merchandise: Rosie O'Donnell's slingshot toy has sold over 2 million units. I became a stand-up comic thanks to United Airlines. I started off as a funny magician working at the Magic Castle in Hollywood—I levitated celery, sawed a man in half, and performed a death-defying escape from my grandmother's girdle. United Airlines changed the course of my career when I arrived in Cincinnati and my act arrived in Newark. That night I walked onstage without my tricks, without an act. I was so scared that 1 just started babbling about what happened, and to my surprise, I got laughs. I then ranted about all the humiliations of my life and the laughs got bigger, and before I knew it, my twenty-minute set ended. It was then that I learned the biggest lesson about comedy: truth is funny and shows up even when your luggage doesn't. 1 became a stand-up comic, because why schlepp around a bunch of props when people will pay you just for your ideas? Recently I've added to my work schedule by doing funny motivational speaking at Fortune 500 companies. W h o knew? The bottom line is, funny people are not limited to one field oi comedv, and many of them overlap. For right now, you don't need to know what you want to be when you grow up—all you need is your sense of humor. But first, let's make sure vou have one.

yes

no

yes no yes no y es no yes no yes no yes no

Some people, no matter how hard they try, just aren't funny. It takes a certain disposition to do comedy. So, how do you know if you have the right stuff?

Circle the answers that describe you best. yes

no

yes

no

yes yes yes

no no no

yes yes

no no

yes yes

no no

Do you think that you're funnier than most of the schmucks you see on TV? Every time you open your mouth, does an inner voice say, "You should be writing this down"—even during sex? Are you jealous of everyone who makes a living from comedy? Could you think of funny jokes even at a funeral? Do you ever think that you are the only sane one in your Crazy family? When you get angry, do you get funny? Would you tell people your most embarrassing moments and inadequacies if you could get a laugh? Do you notice the quirks of life that other people miss? Do you study the minute details of life, such as lint?

Do you sometimes imagine a future full of the improbable? Such as, "What if men got pregnant?" "What if you were born old and grew young?" Do you think you look funny when you're naked? Do you talk back to your television? Did you grow up in a family where few things were really discussed and communication was at a minimum? Do \ o u imitate your family behind their back? Do you have opinions about everything? Do you get accused of exaggerating?

Garry Shandling, famous comic, would answer all twenty questions "Yes." Teri Arangucn, my accountant, answered only four "Yes." If you answered more like Garry and less like Teri, then give up the spreadsheet—you have a comic's disposition. You might be working as an accountant but you are thinking like a comic. It's not how you currently make your living that makes you a comic but how you think—how you sec the world, your attitude about the absurdity surrounding you, and of course, how you can make people laugh. If you imitate your family members behind their backs, you're not being rude; you're doing what we call act-outs. If you are funny when you get angry, you already know how to deliver with attitude. If you have opinions about the service in a restaurant, the new TV season, interest rates, don't think of yourself as a know-it-all; you have a hit on (i topic. And if you are insanely jealous of other comics' success, it just might be a healthy expression of your own desires for success. But if you want to watch other comics in clubs, follow them home, and watch them through binoculars, you're not an observational comic—you're a stalker. Get help. We funny people are not normal. In my workshops, the normal ones are not the lunny ones. We think differently. For instance, having a hard time at work? Normal people think, "What a bad day." Comics think, "A bad 'lay . . . and material!" "I used to work in an office. They're always so mean to the new girl in the office. 'Oh, Caroline, you're new? You have lunch at nine-thirty.' I worked as a receptionist, but I couldn't get the hang of it. I kept answering the phone by saying, 'Hello, can you help me?' It's so humiliating to go on job interviews,

especially when they ask, 'What was the reason you left your last job?' 'Well, I found that after I was hired, there was a lot of tension in the office. You know, I found it difficult sitting on the new girl's l a p . ' "

We generally grew up in a family where lew tilings were really discussed and communication was at a minimum, but we remember every humiliating thing that happened.

—CAROLINE RHEA

"I don't feel good about myself. I recently broke up with this woman. Why? I felt

Normal people express their sense of humor by memorizing jokes; comics transform their life experiences into punch lines and write their own jokes. We funny people are a strange sort. We like aughs, even at our own expense. We funny people were the cave people who probably slipped on the banana peel just because we were certain that it would get a laugh. We think a lot about little things, such as lint or hotel soap.

she wasn't into me. I said, 'I love you. I adore you. I worship you.' And she said, 'Ain't that a kick in the head.'" —RICHARD LEWIS

We've kept a mental record of our family's weirdncss because we knew even at an early age that they were a source of material. "Both my parents got high my entire life. We used to go on family trips together without even leaving home. I don't have childhood memories. I have flashbacks. I think that's why I hate to travel, because we never went anywhere. Oh wait, we

"I like tiny hotel soap. I pretend that it's normal soap and PP

did . . . rehab. That was fun."

my muscles are huge."

—VANESSA HOLLINSSHEAD — J E R R Y SEINFELD

We think slanted—out of the box. "A lot of people are afraid of heights. Not me—I'm afraid of widths." —STEVEN WRI6HT

Most people hide their defects; we comics show them to the world Matter of fact, the more people who know about how fat we are, how bald, how insecure, the better we feel—as long as we get a laugh.

We usually think that we are the only sane ones in our families, but usually we are sorely mistaken. We are not normal. We are comics. Most people have misconceptions about what comics are like. Comics are not necessarily funny happy, outgoing, laugh-getting clowns. I have a friend who had the misplaced idea that she would have a really fun dinner party by inviting a bunch of comics. She anticipated a laugh-a-minute kind o( night. Wrong! It was a Nietzsche sort of night: her cooking was analyzed, two people felt too depressed to talk, and three others felt too fat to eat. At one point, when the conversation turned to creative ways to commit suicide, the hostess decided that this would be a good time to go to a movie and asked that we lock up when we left.

"I have low self-esteem. When we were in bed together, I would fantasize that / was someone else."

" I f I ever commit suicide I'm going to fling myself off the top of a skyscraper, but —RICHARD LEWIS

before I do I'm going to fill my pockets with candy and gum. That way when the onlookers walk up they can go, 'Oh, Snickers, hey!'"

We love to expose stupidity

—PATTON OSWALT

"Please, if you ever see me getting beaten up by the police, please put your video camera down and help me." —BOBCAT GOLDTHWAIT

Bobcat Goldthwart

Being a comic or a comedy writer is not for normal people. way of looking not only at your life but at your dreams. If you comic, you probablv even dream funny. It's a discipline to pay tion to ideas that come at all times, even during sex. "Hold it right

It's a are a attenthere.

honey, I've got to write this idea down." It's about living in the funm zone twenty-four hours every day—watching life, having opinions, recording them, and fleshing them out to a finished piece. That's the discipline.

We all have funny ideas. We wake up with them; we get them in our sleep, or while drinking coffee or driving our car, and even in times of griel. Ellen DeGeneres is an example of someone who managed to turn tragedy into comedy. A close friend of hers had died, and while alone and grieving in her fleabag apartment, she was inspired to write a routine that would one day make her a star—"A Phone Call to God."

"This is really funny, I should write it down," and the voice that says, "This would be a great television episode." You might say to yourself that these ideas are nothing. But look what Jerry Seinfeld did with "nothing." There are a thousand little observations about the details of life that fly past us every day. Don't let them go to waste.

PRO TALK with Carol Leifer, stand-up and writer/producer on Seinfeld

"I get my ideas from life. I was out at dinner and ordered a bottle of wine and the waiter gave me the cork to smell, and 1 felt stupid sitting there sniffing it. 'Yeah, that's a cork.' And then the waiter laughed, so I W rote it down and put it in my act—'You feel like such an idiot, the guy hands you the cork and it's like, "I don't know what I'm supposed to do . . ." Like, "uh, yeah, yep, that's cork." ' "

"I don't understand why we have fleas here because fleas do nothing at all beneficial. But I thought at times like this when we can't figure it out for ourselves. . . wouldn't it be great if we could pick up the phone and call up God and ask him these things. Just pick up the phone and call up God—'Yeah, hi God, it's Ellen . . . Listen, God, there's certain things on this earth. I just don't

Buy Comedy Supplies

understand why they're here. No, not Fabio. No. But there are certain things, I

• pen

mean, Jesus Christ. No, I didn't mean that. That was great. We're still talking

• small notebook (one that fits in a pocket) • large binder • 100 index cards • small tape recorder (digital is the best to save your ideas as individual sound bites)

about that. No, I was thinking more about insects. No, bees are great. The honey. That was clever. You're welcome. I was thinking more about fleas. . . they seem to have no beneficial .. . [waiting]

No,

I didn't realize how many people were

employed by the flea collar industry . . . not to mention sprays. Well, I guess you're right. Of course you are . . . " " [edited]

Whenever I tell someone that I'm a comic, they bend my ear about their idea for a sitcom, a screenplay, or a joke. "You know, a lot of people tell me that I'm funny!" the person will say. "OK, and please install my cable, Mr. Funnyman." So, what is the difference between someone making a living from their ideas and someone who sees their ideas on TV and says, "Hey, I thought of that?" It starts with paying attention and writing your ideas down. Many funny people aren't even aware that the ideas flying through their minds have the potential to become successful creative ventures. Some people are so overwhelmed with the day-to-day struggles of life that they don't even pay any attention to that quiet insightful voice, the one that says,

Exercise: Keeping an Idea Book You've probably been thinking up ideas for many, many years. Well, now It's time to write them down. Get yourself a notebook that you keep by your bed and another, smaller one that can fit in your pocket. Carry this, a working pen, and a small tape recorder with you all day. You don't want to lose the next major sitcom hit that will boost the profits of NBC because that day you didn't have a pen that worked. Write down all ideas Within a few minutes of thinking about them. Divide the big book into sections—for example, jokes, sitcom, film, and career ideas. Each morning before you get out of bed, before you pee, spend just ten minutes writing down fresh ideas. If you don't have any, then just keeping writing about anything—your dreams, your revenge

fantasies, anything. They don't have to be funny. Just the act of writing down these ideas will keep the mental pipeline open. The morning is the best time to write. Keep the paper and a pen by your bed so that when you wake up, all you need to do is reach over and start writing. If you need coffee badly, then prepare it the night before and put it in a thermos by your bed. Any activity that you put between you and writing will give you an excuse not to do it at all. If you have to go to work early, set your alarm ten minutes earlier. It's a start. Do not get out of bed before concluding this brief writing period. And do not give in to any self-negotiations, like "I'll skip today because tomorrow I'll have the whole day to write." This line of thinking is a formula for sabotage. Very few writers write the whole day. It's unrealistic. Can you write for ten minutes? It might not seem like much, but if you fill three pages a day, in a week you'll end up with twenty-one pages. At the end of a year, that's a book, a screenplay, an act. These morning writings are not supposed to be masterpieces. Occasionally you'll produce an incredible idea, wonderful dialogue, hysterical jokes, but for the most part it will be drivel, and that's OK. Get the juices going, the records in place, and the discipline in gear. The more pages you have; the more likely you are to hit on some truly inventive stuff. As anyone in sales knows, it's a numbers game. The more darts you throw, the more likely you are to hit something. The more people you dale . . . You gel the idea. It's like Anrway.

PRO TALK with comic Richard Lcivis

"I carry a pad of paper everywhere and if something strikes me funny I write the premise down. Over the course of a few months I will have thousands of these premises and I circle those that really make me laugh, and think about how I can actually say it onstage. Over the course of a tour, premises develop and grow into routines and oftentimes strong one-liners. I tape every show and if I ad-lib, I add that to the show."

Some suggestions about this free-form writing: Do not judge it. Re messy. Do not try lo be funny. Don't go back and reread your stuff for at least a month. That way you'll be able to reread it with fresh eyes.

PRO TALK with comic George Wallace

"I write my joke from seeing slupid things. Stupid signs. 'Quiet Hospital Zone.' And there's nothing making noise but the ambulance—a big siren going 'Woooo.' "

If something does strike you as a workable idea, put it on an index card. These index cards will come in handy when outlining a sitcom or putting together your stand-up act.

Ideas are starting points and are neither good nor bad. There are halfbaked ideas, crazy, wild, tiny, and big ideas, but none of them should be judged before you take each for a run. One of the mistakes neophyte comics make is thai they are too quick to label an idea bad, wrong, or stupid before they investigate it. For instance, which of these ideas is "bad"? Idea for a sitcom—"How about a sitcom where a nun has a big hat thai makes her fly?" Idea for a film—"It's the middle of the Korean War. Everyone is getting blown to bits. But the doctors are really funny." Idea for a joke—"I'm so depressed I want to kill myself. I wonder if there is a punch line here?"

All of those ideas led to comedy that made money: • The Flying Nun was a popular TV series starring a very young Sally Field. • M*A*S*II was a wildly popular film directed by Robert Altman and served as the basis for a long-running and very successful sitcom. • One of comic Paula Poundstone's signature pieces was about suicide.

Describe what it felt like to get laughs. Be descriptive rather than just saying, "It felt good."

"I tried using carbon monoxide, but my building has a big underground parking garage so it was taking a really long time. I had to bring along a stack of books and some snacks. People would go by and tap at the window and say, 'How's that suicide coming?' and I'd say, 'Pretty good, thank you, I felt drowsy earlier today.'" —PAUU PouNDsTONE

Exercise: Writing Vour Ideas What are the ideas that you've been carrying with you? Remember, ideas arc starting points. If you are like most creative people, you probably have been carrying around a lot of ideas. Whether you are interested in stand-up or scripts or something for the printed page, it's good to explore different forums. Write ai least one idea in your notebook •

for a joke

• • •

for a sitcom for a magazine article for a film

Studying what makes you and others laugh is a great starting point for understanding corned}'. Sometimes it's someone's attitude, the way they say something, the combination of different points of view, an argument, or simple stupidity. Carry around your idea book with you for the next fortyeight hours and write down exactly what you saw, heard, or said that got a laugh or a smile. Telling a joke does not count, unless it was a joke that you wrote. Rather, your laugh-getting comment could be an off-the-cuff remark you made while at your therapist's office, at a party, at the office, or at the dinner table. Get off the couch, out of the house, and pay attention! Make a list of what got laughs.

Look over the lists you just made. You might have noticed that when vou are getting laughs, there is something that you are doing differently that is making you funny. It's important to know what that something is. For example, if you got a laugh while telling a friend a painful story about something that happened to you, did you exaggerate the humiliation? Did you make up things that didn't really happen? Did you make yourself more of a victim? Find five things you or someone else did that heightened the "funny," and write them here.

"People ask me, 'Steve, how do you get so funny?' I say to them, 'Before I go onstage I put a fish in each shoe. That way I feel funny.'" —STEVE MARTIN

Look over your list about the feelings you get from making other people laugh. Are the following some ol these words on your list—alive, present, playful, angry, imaginative, energized? If so, then you Know what it's like to be in the funny zone.

All of us funny people have been there. You're at a party and the subject of bad dates comes up. You join in with stories about your own dating hell. but you're in the funny zone and you're getting laughs. Matter of fact, the more horrible the story is, the more everyone laughs. You ride it, and you get a feel for controlling the laughs, exaggerating just the right amount, acting out your dale, adding the perfect amount of sarcasm—you are in the zone. And that is how you create comedy material. It was spontaneous and it worked. The trick is to write it down as soon as you can, before you forget what you said. Keep track because life is full of comedy material. "I hate singles' bars. Guys come up to me and say, 'Hey, cupcake, can I buy you a drink?' I say, 'No, but I'll take the three bucks.'" —MARGARET SMITH

Have you ever had a fight with someone that turned funny? There you are, both yelling at each other when suddenly you take a turn into the funnyzone—still angry, but funny. You might be still fighting, but you are also creating great comedy dialogue. Write it down. And you'll probably win the fight, too. We are more likely to win fights with a punch line than a punch-out. "Does it hurt your back to kiss your own ass like that?" — F R O M NBC's WILL AND Gum, WILL'S RETORT TO A FRIEND WHO is BRAGGING ABOUT WHAT A LADIES' MAN HE IS

Looking in the mirror you notice that you've gained weight, but instead of calling yourself a worthless tub of lard you start playing with your bulging midriff and start seeing some advantages to being fat. You have leaped into the zone. And you write it down.

lever and smart but sound too literary and contrived to get laughs. The best way to write killer material, the kind that will rock a room and threaten to create hernias from laughing too hard, is to capture and gepand upon spontaneous moments. That means that you want to create material when you are in the funny zone. As children we play and joke and aren't worried about what ethers think. Put a comic and a kid onstage and the audience invariably will watch the child, because children are always in the zone. You can write comedy while sitting alone at a computer, but it might end up sounding toned and devoid of energy. This doesn't mean you necessarily need to be standing, talking, writing, and improvising all at the same time when you create comedy material. It's different for everyone. You need to tind for yourself what it takes to put you in the zone. For me, it's working in front of another comic—someone who doesn't jud be a political activist, now I subscribe to Martha Stewart Living. Instead of 'Hell no, we won't go,' it's,

Day 12 Action Checklist

'Oh no, that won't go!' 'What time is it? I'll miss her show!' "

U written out your set list on index cards J decided on an opening

—LEE ROSE

2.

Make sure all your jokes are in the present tense: "I am" rather than "I was." Wrong w a y : "The other morning I woke up and although it was hot, I was cold, and I wanted to put on a coat and I thought, 'Oh no, it happened! I'm old.' And I was thinking,

Get to the Funny

'When is it that you are old?' Because it was four P.M. and I wanted to go to an

Although the audience where you'll be performing has left their TV remote controls at home, they still have a channel-surfing mind-set. You've got to get to the funny (the act-out) in just a few lines, before the audience mentally changes channels.

early bird special."

Right w a y : Fix the above joke by putting it into the present tense and giving it an attitude, topic, and act-out.

Exercise: Taking Out the Trash Today you are going to spend time honing each joke and wringing out more laughs. I.

Write out your jokes, then underline the. funny part. If there are more than three lines before the funny part, you're taking too long to get there. Cross out all the stuff you don't need—including any and all hack segues. Bottom line: if it's not part of the joke, it's part of the problem.

3-

Check again, with as critical an eye as possible, that all your premises make sense to a group of strangers. Cross out all the premises that relate only to you and your little world.

4.

Make sore every joke has one and only one attitude. Don't switch attitudes in midjokc, and toss any jokes that have no attitude.

A woman opens her act by talking about how stupid it is when "girls flirt u> get what they want." Later on she does a series of jokes about how shewants to form a "flirting school." Huh? Comedy disconnect.

"My mother is weird. It scares me that she . . ."

5.

Cross out any jokes that are illogical. What's wrong with this setup? "It's weird that everyone in Los Angeles has plastic surgery. This guy comes up to me and shows me that he waxed his chest. 'Feel this man, so smooth!'"

This is an illogical setup because chest hair waxes arc not plastic surgery. Your setup has to make sense. The setup should be: "It's weird that men in Los Angeles wax their chest hair."

6.

Break up jokes that have more than one topic per joke. Count the number of topics in the following setup.

PRJJJALK with Greg Proops

"You have to be sincere and talk about what's real for you. Don't be sexy and then talk about how you're not getting dates. Or if you seem smart, don't talk about nonsense. Don't be afraid to talk about what you really think. They're not going to put you in jail."

The same principles apply when writing scripts or writing jokes for other comics. Never sacrifice a character's reality for the sake of a laugh. ' creates a comedy disconnect.

Wrong w a y (too m a n y topics): Exercise: Comedy Disconnects "You know what's weird? I'm from Kansas and I grew up on a farm with a large Catholic family."

In the setup, the audience needs to know what the joke is about. Separate each topic into separate setups—"Kansas," "growing up on a farm," "being from a large family," and "growing up Catholic." You can have great jokes and still have a lousy act. Your entire act needs to make sense; otherwise you will have a comedv disconnect.

Comedy Disconnect A comedy disconnect happens when the comic fries to be funny rather than communicate ideas. Reality is sacrificed in a desperate attempt to get laughs at all costs. Some examples: • •

The comic starts out talking about how he "can't meet any women," and then later on jokes about how "hard it is being in a relationship." Huh? I once had a student whose primary topic was how "hard it is to find Ms. Right." lie went on and on about all the nightmare women he dated. Then, in the last thirty seconds of his act, he did a whole riff about "being gay." Huh? Comedy disconnect.

With your comedy buddy, do a reality check on your act and make sure that everything makes sense—and be on the lookout for comedy disconnects.

Cutting Jokes That Will Make the Audience Turn on You This is a comic's worse nightmare—being despised by everyone in the room. I've seen it happen at our showcases—a comic is killing, and then there's that one hostile joke, and the audience turns, and no matter what the comic does, he cannot bring them back. This applies to stand-up comics and comedy writers. One racist, sexist, or offensive joke in your writer's sample package can be the rotten apple that spoils the entire package.

Joke Fairly Audiences generally turn if they feel that a joke is unfair. Audiences have a communal sense of fair play They will laugh at whoever you arc trashing as long as ihey feel that it is deserved. They will turn on you if you are not fair. For instance, what is wrong with these jokes?

"I was going out with this stupid woman. This woman was so stupid that she had to study for a Pap smear."

•)

3 What's wrong with this joke—besides being hack—is that the audience thinks, "If she is so stupid, then why are you going out with her? She agreed to go out with you, so shut up!" The number one rule about trashing something or someone is that you need to prove in your setup that they deserve it. Wrong w a y :

4. _ 5

• •

This technique of lighthearted sell-mocking is a skill that will increase your likability whether you're performing at a club or pitching your script ideas at a meeting.

"My wife is such a bitch."

Don't Trash the Oppressed The audience will hate you. Better w a y : PRO TALK with Tom Dreeson "My wife ran off with my best friend. What a bitch!"

B i g h t -way: "My wife ran off with my best friend. How could I be so stupid? I should have

"There is no such thing as a victimless joke. Each joke has a target and you have to make sure that whoever or whatever that target is—they deserve it."

known!"

Why is this the right way? Because the best person to poke fun at is you. That's how to get the audience's sympathy. Make your premises reflect the ultimate insight that the reason your life is screwed up is that you are the one who screwed it up. And what do you know-—it's probably even true. This premise can create more jokes, such as: "My wife ran off with my best friend. How could I be so stupid? I should have known the relationship was over when she told me, You're a worthless piece of scum and I never, never want to see you ever again.' But no, I thought she was playing hard to get."

And you can get more jokes out of it by going: "I should have known when she gave me a restraining order."

Now fill in the rest to get the feel of this. "My wife ran off with my best friend. How could I be so stupid! I should have known when . . ."

Never further oppress someone who is already perceived as being oppressed. Make sure the butt of your joke deserves your barbs. This means getting out of your narrow little world and knowing who audiences perceive as being oppressed. For instance, you might be a boss and have the worst secretary in the world. Tempted to joke about how hard it is to get good help? Don't do it. First of all, you have the power to fire her and hire someone else, so what's the problem? But even more important, it's mean to make fun of people who get paid a lot less than you do. The audience will not take your side. Only trash a minority if you are a member of that group. Chris Rock can talk about things he doesn't like about black people and he sounds hip and cutting edge. If you're white and you do it, you sound like an ignorant, ugly bigot. That goes for all minority groups—religious, sexual, racial.

Hack Attack Warning—Gender Bashing '' you think the problem with your relationships is that the gender vou

relationships and you will understand how bogus this notion is. "Women are impossible." "Men are clueless about relationships!" Hello! It's not just men or women who are horrible in relationships, it's all human beings. I he truth of the matter is that the reason your relationships don't work out is you! Take some personal responsibility and stop gender bashing in comedy clubs. It's hack! My job as a comedy coach is to help my students get to a deeper level of truth, because there is a direct correlation between the level of insight and the volume of laughter. Underneath hostility is fear. Try it on for size Change "I hate men (or women)" to "Men (or women) scare me." It will make a huge improvement in your work.

to keep their hair straight.' And I said, 'You go back and you tell that motherf**ker I said, "Oh no? Niggers have a cure for that, too. We will f * * k all the white women and make sure all our kids have straight hair. — P A U L MOONEY

Paul Mooney

"VV/irtf about using props?" Props usually aren't worth the schlepp and can ruin your timing when vou go looking for them. They also create a disconnection from the audience. Rather than slwmng the audience the big stupid hat your mother wore, describe and mime it. You'll most likely get a bigger laugh if you leave the prop to the audience's imagination.

Gender Bashing Wrong w a y : "Women just want men for their money. Last time I had sex, my girlfriend said, 'Wait a second, I need to run your credit card.' "

'What about doing blue material?"

This premise is hack because the last time the comic's thinking was even remotely insightful was in 1950, maybe. But now women have wellpaying jobs and marry for reasons other than financial security. Here is the same joke reworked to be a bit hipper by making the comic look like the idiot. "Women just want me for my money. I mean, I'm making $15,000 a year now. Hey! So, I was with this woman and she ran my TRW and I said, 'See, women just want me for my money,' and she said, 'No, I'm a prostitute and you can't afford me.'" —DON ASKEW

Exercise: Cutting the Hostility Identify who or what is the victim in each joke. Take the jokes that make fun of other people or groups and rework them so that you are the butt ol the joke instead. If you do decide to trash someone, make sure you're justified doing it and that the audience will agree. Here black comic Paul Mooney trashes shock-radio DJ Howard Stern for a good reason. [Referring to a news item that a black man found the cure to AIDS] "Howard Stern said, 'No black man discovered no cure. They can't even discover something

In case you haven't heard, blue material consists of swearwords, graphic sexual descriptions, and other things generally not found on Sesame Street. Many beginning comics will use blue material because certain words and graphic images will often get a sort of nervous, knee-jerk laugh because of the shock value, even if the joke is not displaying any skill, talent, or originality. Although HBO is filled with comics doing very graphic material, they usually got there by being able to also work clean. Generally speaking, working clean opens the door to more opportunities. And then by the time you get your own HBO special, you can do whatever the f**k you want. The topics you choose to joke about can make the difference between a career as a TV comic and one as a "May I take your order, please?" Comic. Beginning comics often pick topics such as body parts, body functions, and sex because they think that they're funny. Yeah, funny if you can find a paying audience of thirteen-year-olds. Many talented comics get passed over for jobs because all their jokes arc X-rated. I once saw a comic at an open mike who was brilliant. I'll never forget him—each of his jokes Was beautifully crafted with magnificent imagery. Besides being hysterically funny, his insights were extraordinarily perceptive. But his sole topic for his entire thirty-minute act was oral sex. Five years later I ran into

him again. lie was appearing nightly at the House of Pancakes—an international gig! ferry Seinfeld, on the other hand, is famous for always doinp squeaky-clean material, and look at his career. It's your choice.

JUDY'S BLUE MATERIAL RULE

II your topic is something that comes out of a hole—forget it, too graphic. That includes solids, liquids, and gas—that's right, no fan jokes. Going into a hole—OK.

1

"\lv husband is an idiot." "Men are idiots." "I can't get a guy." "I'm fat and ugh. Traditionally, women stand-ups have limited themselves to doing material about their relationships or about their bodies, making their defects the butt of the joke. The new crop of female stand-ups is broadening the scope of what women talk about. "The Second Amendment gave us the right to bear arms in order to have a ready

Another thing to consider when doing graphic material—it may be very funny, but it might not fit with the rest of your act. For instance, I saw a clean-cut college guy who did some very funny lighthearted material about living with his girlfriend, then threw in an oral sex joke. It got a big laugh, but he couldn't get a laugh after that. The reason—the audience had thought he was a wholesome guy and didn't want to see him as a sexual predator. I Ie sacrificed his likability for the sake of that one joke. 1 laving a naturally dirty mouth, I found it an interesting challenge to clean up my act for the corporate market. It took a lot more work to get killer laughs when I couldn't use the "seven dirty words." However, clean material is not necessarily good material. A lot of people, myself included, arc far more disgusted by so-called clean comics who tell sexist, racist, and homophobic jokes than by brilliant comics who use colorful language. In the end, what matters most is being truthful to who you are and using the language that is most natural for you.

militia. It's not for traffic incidents." — P A U L A POUNDSTONE

" 'Human cloning would not lead to identical souls, because only God can create a soul,' a panel set up by Pope John Paul has concluded. They also took care of a couple other things that were burning issues: apparently, Trix are indeed for kids." JANEANE GAROFALO

Hack Attack! "I'm so fat . . ." PMS. "My breasts are so small." In this millennium, if you want to do jokes about your body and be hip. you can't make yourself the victim of narrow, traditional thinking. Want to talk about being fat? Then approach it from a fresh new angle— such as the advantages of being fat. "Hey, if I'm going down on the l'itanic I'm going to float. Grab hold of this, Leonardo!"

Exercise: Getting an R Rating Insecurity is the most typical reason that comics use the f-word in their acts. (I'm calling it the f-word because I want my book to be in the library.) Go through your act and see if you can replace those four-letter words with more attitude in your delivery. Unless you're committed to a sleazy, scatological persona, cut all graphic sexual material. For Women Only When I first started doing stand-up, there were only a handful of us funny gals out there—loan Rivers, Totie Fields, Phyllis Oilier, and others. And our premises basically consisted of

PRO TALK with Judi Brown, manager and talent coordinator for the U.S. Corned}/ Arts Festival in Aspen

"Everyone is looking for women who have a unique voice and are truly funny. A lot of the female comics fall into stereotypes. For some reason, it's hard for them to embrace doing something completely different. Be original and embrace your own voice. The payoff is huge because there are so few females that actually succeed at it. If you can hang tough and keep your own voice, you'll definitely rise to the top."

Day 13 Action Checklist Double-check your act for the following: J J Q J J J • Q U

excess words attitude for each joke present-tense verbs relatable premises comedy disconnects excess hostility (making sure the butt of your joke deserves it) gender bashing blue material hack material

i

When doing stand-up comedy, calling a rehearsal doesn't lake a lot of organization—it's just you. Wherever you arc, you can rehearse. But it's helpful to prepare with your comedy buddy "How do I memorize my act?"

you left out a joke." Your act will never go the way that you imagined it «iyway, so memorize it well enough not to have to struggle to remember j t —but also know how to let go of it so you can swing with the moments. "WJmt do I wear?" Hack attack warning! Funny clothes—hack! If your clothes are funnier than you are, then you've got a big problem. Wear something that makes you feel good—it doesn't always have to be the same thing. Having said that, do make sure your clothes match your persona. If one of vour topics is about being an accountant, a conservative outfit would fit. However, if you're talking about being a poor student, don't come to the club in your Armani suit. Also, have your clothes match the club. You'll look hack if you walk onstage at Bubba's House of Ribs dressed in a sequin-studded, Cher-type gown—unless, of course, you're a guy. If your clothes stand out, you have to do a joke about them. 1 once saw a comic wear tight spandex workout pants onstage. He didn't get many laughs, mostly because the audience was distracted by what seemed to be quite a large package of malted milk balls in his pants. The big laugh went to the comic after him, who said, "How many of you think that was a sock in there?"

Break your act into chunks that make sense, such as the four categories—special challenges, childhood, current issue, and relationship. Rehearse one chunk at a time, keeping the following in mind: • • •

PRO T/UK with Beth Lapides

"Wear what you feel comfortable in. Some comics feel good in tight, clothes. Some in loose. Bobcat wears hats, which is saying, 'I see myself as a clown.' I bring changes of clothes with me because I don't know how I will feel when I get to the club. Although, I find that white is very unfunny."

Never rehearse vour act without emotion. Always picture what you are talking about. Visualizing who and what you are talking about makes material more dynamic and immediate. Don't practice in front of a mirror or a video camera. You won't be looking at yourself when you perform, so don't do it while you rehearse.

I practice while walking in an alley Nobody sees me, and even if they do, I just look like another ranting bag ladv wildly gesticulating and talking out loud to myself. 1 go through my act one joke at a time, asking myself after each one, "Do 1 like what I'm saying? Is this material comfortable?" When a joke feels awkward and I just can't memorize it, I toss it. There comes a time when you know your act but keep rehearsing it out of fear of forgetting material. Don't ovei-rehearse your act. It's OK not to know it perfectly. No one is going to say, "Well, you were real funny, but

"What if I forget my act?" What's the number one fear of doing stand-Up? Survey says—forgetg your act. Everyone who has ever contemplated doing stand-up has "»agin e a the horror of going blank, standing there drenched in flop sweat as the audience stares pitifully at you. The easiest way to deal with this tln

tear is to change' the way you look at it. The fact is, memory loss and the humiliation that goes along with it can be funny. All comics forget their acts at some time or another. Comics who have a healthy sense of humor about themselves not only can survive forgetting their acts, they can make it work for them by joking about it. Rob Becker turned his stand-up act into the hit one-person show Defending the Caveman. He blanked out during one performance at Dallas's Majestic Theater and got laughs from the way he handled it. He simply announced, "I forgot my next line." He then walked to the side of the stage, where he consulted with someone behind the curtain. I Ie came back out and said, "It just came to me! A lot of times you go for a walk, and it comes to you." The audience roared because, actually, everyone loves mistakes. Look at it this way. W h a t are most of your jokes about? How imperfect and stupid we human beings are, right? Forgetting your act is just another example of that. Ironically, it's often the comics who do their acts perfectly who don't score the big laughs—they're too slick. Generally speaking, the reason a comic forgets his act is that he is disconnected from his material. Fear causes this disconnection. The moment he admits that he is a scrcwup is the most real moment of his act. and makes him likable, human, and funny. Tips on forgetting your act: •

•

• •

Let go of your obsession with being perfect. Make your inner critic accept that you might go blank. Being perfect might get you an A in high school math but it will only get you an A-nal retentive in stand-up. If you do go blank onstage, have a sense of humor about it. Use the moment to joke about what a jerk you are. It's a great way to get the audience's sympathy. Take in a deep breath, and then let it all out. If you give yourself a moment to breathe, your act will generally come back to you. If you leave out material when performing, it's probably a good thing. When comics skip material, it means that it wasn't right for that crowd. Trust your instincts.

PRO TALK with David Brenner

"When you get on that stage, you really got to feel that you own it. People have to know that they are in your domain."

Pay 14 Action Checklist Q got your set list together • rehearsed your act Q decided what to wear

This is the day you and your comedy buddy do your dress rehearsal. You'll be performing your act just as if it were the real show, down to wearing the outfit you selected. This is not a time to be adding new material to your act, but rather a chance to get comfortable with what you already have.

Timing Your Act Most open mikes give new comics between three and ten minutes to do their stuff. Whatever you do—don't go over. Because if you do, no matter how funny you were, you will always be remembered as the comic who screwed up the schedule. Get in, get out, and nobody gets hurt. It's better to come in short than to go too long. Don't try to cram too much material into too little time. This is not the only time you will perform. If you are supposed to do five minutes, come in at four minutes in order to leave time for laughs and riffing. And if there are no laughs, you'll want to get off the stage at four minutes anyway.

Exercise: Timing Your Act Have your comedy buddy time your entire act. Then time your last piece and practice getting to it from any point in the act. Let's say your last bit is thirty seconds. When you get to the club, before you go on, ask the room manager to cue you when you have one minute left. When you get toe light, you'll have thirty seconds to finish the joke you are on, and move on to your last joke. The formula for figuring out when the room manager should cue you is the time of your last joke plus thirty seconds. "How do I

enii my

act?"

Put your most physical and/or sexual joke (or what you think is your biggest laugh) at the end of your act. But if you get a big laugh and vou are anywhere near the end of your act, say, "Thank you, good night!" and quit while you're ahead. The goal is not to get in all your material, but to get out while the getting is good. Always make it clear that you are finished by saying, "That's it!" or, "Thank you." It's unprofessional to just walk off the stage without signaling to the audience for applause.

If you get stuck, a "Thank you for sharing" or "Oh, stop it, Mom" can be enough. It's a little hacky, but will work until you get confident in coming up with your own. If the person is really intent on ruining your show, signal the room manager to throw them out. It's not good business if one person ruins the show for everyone.

PRO TALK with George Wallace Hack Attack Warning!—Hack Closings to Avoid

"IT someone has time to yell at you during your act, there is a reason for that. It usually means that there is a hole in your act. Notice that comics who don't have hecklers are coming up with good material. But sometimes there is one idiot in the audience. There are manv wavs to do if, hut it depends on the moment whether you do it with kindness or embarrass the heckler. You can say, 'Hey, people are coming here and paying to see me, not you.' Or say, 'The people next to you are thinking:—'Three thousand people in this room, and I had to sit next to the asshole." '

"Well, that's my time!" "Thank you and God bless." "I'm out of here." "There's the light!" "You guys have been great!" "How do I deal with hecklers?" Most novice comics are afraid of hecklers—they imagine that some drunken stranger is just waiting to humiliate them while they just stand onstage tongue-tied. The truth is, this particular nightmare rarely occurs. Most audiences are too shy to speak up even when asked a question, let alone to shout insults at the comic. During the few times that someone has talked to me, I've actually found it fun to take a break from doing my material and improv with them. Here are just a few of the reasons why you shouldn't be afraid of hecklers: • • •

You've got a mike and are louder than them. They're drunk and hopefully you're not. You usually have the audience on your side.

The best wav to handle a heckler is to let him or her dig their own grave. They don't need much help to make themselves look stupid. One technique is to repeat what they said and comment on it by applying the basiv stand-up techniques of premise, act-out, and mix. Here's an example. [Heckler] "That really sucked." [Comic] " 'That really sucked.' Thank you for such an astute review of that joke. 'That really sucked.' Very good, sir. [premise] With commentary like that you could be working for Meet the Press, [act-out] 'What do you think of the new federal budget?' 'Well, that really sucked.'"

Hack Attack Warning!—Heckler Put-downs

•

• • •

Keep away from the cliche comic put-downs—"This is what happens when the fetus doesn't gel any oxygen." "You are two tacos short of a combo plate." These lines should have rim shots after them, they are so old. Keep your integrity intact by not going for a racial or gay put-down. Male comics—don't bash a woman even if she is drunk, ugly, and stupid. It will make you look even worse. Don't get sucked down to die heckler's level. They might be mean, but you need to be clever.

Exercise: Handling Hecklers (Buddy Exercise) You'll feel even more confident if you have some of vour own heckler Stoppers in your hip pocket. Practice doing vour act while your Corned) buddy heckles you, and come up with some responses you like. Even if you are quick witted, take your time before responding so you don't say something so mean that it turns the room against you. Breathe.

Exercise: Practice Being in the Moment The best responses to a heckler are thought of in the moment. They are funny because they are spontaneous. I lere is a way to train with your comedy buddy to be quick on your feet. Complete this list, adding ten of your own scenarios: 1. Crash! The waitress drops a drink tray. 2. It's really hot in the club. 3. Your By is open.

4. 5. 6. 7. 8. 9. 10.

The MC mispronounces your name. Nobody laughs at your jokes. The microphone breaks. No one in the front row speaks English. A waitress stands right in front of you. A woman drops her purse and all the coins fall out. Someone gets a call on a cell phone.

Now write down ten other things that you would hate to have happen.

way, producers can be like drunk hecklers, and anticipating things going wrong can help you to be prepared for the worst. ("We've already done that story, what else do you have?") Day 15 Action Checklist

r

• You limed your act. allowing lime for laughs and riffing. You figured out when to tell the room manager to cue you so you have time to get to your last joke, do it, and get offstage without going over your allotted time. [J You practiced responding to hecklers and different situations.

This is the big day, but not big enough to call in sick at work so you can practice your five minutes for eight straight hours. One run-through this morning is enough. Otherwise you'll end up sounding like RoboComic. "Can I bring my set list up onstage?"

1 2. 3. 4 5 6. 7. 8. 9 10

Try not to—it will stop you from connecting with the audience. If you simply can't go onstage without it. then stick it in your pocket or Write it on the side of a water bottle. But don't pull it out unless you get hopelessly stuck. And if you refer to it, be sure to make a joke about it.

Have your comedy buddy shout out each one of these scenarios while you do your act. React in the moment.

"Do I need to watch the comic that's on before me?"

COMEDY BUDDY: It's really hot in the club. COMIC: Isn't it great to have a comedy show7 and a sauna! Then switch places and you heckle your buddy. This exercise is also very helpful to writers when preparing to pitch story ideas, because in a

[Looking at her set list, which was written on her hand] "This is my Palm Pilot." — B R A N D / NI6HTINGALE, FIRST TIME ONSTAGE

I wouldn't suggest writing your list on the palm of your hand— especially if you tend to sweat. Suddenly your set list looks like abstract art.

Yes, because you have to make sure they are not doing any of your jokes. Nothing is more embarrassing than to see a comic hit on a topic that's just been done and done and done. No matter how great your take on it is. the audience is tired of the subject and you're setting yourself up for comparison. There are some pros who do not like to go near the room before thev

go on. Andy Kautman was like that. He would Slav clear of the room until the moment he walked onstage because he didn't want the audiences mood to dictate, or even influence, his act. However, the likelihood of the comic before him playing the conga drums and lip-synching the Mighty Mouse theme was pretty much nil. Personally, I like to take the temperature of the room before I go onstage.

videotapes of your performances—they come in real handy it' there's a disputed joke. If you catch another comic doing your material and you're jure there's no way they could have come up with the joke independently, a sk them to stop, or if thai doesn't work, get a Mike Tyson look-alike to asiv them to stop. If you discover that several people are doing your material, then it's more likely that your material isn't very original.

"WJtat do I look for when checking out the room?"

•'Should I riff off the comic before me?"

Check for: •

• • •

Burned-out topics. If the past three comics all joked about the same current-event topic and you're planning on opening with that, do yourself a favor and drop it. The audience is probably burnt out on that topic. Something that is happening in the room that you can riff off. How drunk the audience is. What kind of act went on before you. The worst thing is going after someone who stole your material. If you didn't watch their act,you look like the thief when you do your act. This really happened to me. Hello.

Yes, as long as you don't say anything derogatory about their act or their talent. Rilling oil their topics, clothes, or anything that happened is a bonding experience. Dissing your brothers and sisters, however, is stupid. Five years from now you might need to suck up to them in order to guest on their talk show. So be nice. Some additional tips for tonight: • •

Judge Judy. • m0i johnny Carson, quoted from The Great Comedians, by Larry Wilde (1972)

PRO TALK

"Your delivery can save you if the material isn't up to par. It always amazes me when I see guys working in front of an audience and they are not going—they don't seem to realize it. They plunge right on doing the routine, like, 'I'm going to do this folks, come hell or high water,' rather than change it and going into different areas."

I •

"Is there a way to prevent my material from being stolen?" • Unfortunately, material gets stolen all the time because there is no way to register it and it's too expensive to sue someone. Also, a lot of times jokes aren't stolen, it is just that several comics came up with the same joke. This has happened to me. A woman once accused me of stealing her material, so I mailed her a video of me doing the joke on TV, way before she thought of it. That's one reason why it's good to save dated

Tape-record your act. Stay out of the way of the business. You're not playing Carnegie Hall. The club makes its money by selling coffee, beer, or liquor, not bv helping comics. Stay out of the waitresses' way and don't be a pest. DO NOT DRINK ALCOHOL before you go on. It will ruin your edge. It's OK to be nervous. As a matter of fact, having an edge is absolutely essential if you're going to be funny That nervousness will translate into excitement when you hit the stage. Yes, it feels uncomfortable until then, and getting wasted may seem like a great idea, but just one beer can ruin your timing. Don't do it. Breathe. If you have the confidence to take one full inhale and exhale in between a joke, consider yourself successful. Breathing helps with timing and can prevent a corned)' disconnect. Don't go over your time. If you have a three-minute slot, don't do four minutes. As.I mentioned before, it doesn't matter how well you do. Go over your allotted time and you will be forever known as the person who nussed up die lineup. After your show, drink as much as you possibly can.

Wow do I stop from being so nervous?" Rather than trying to stop yourself from being nervous, change your Attitude about it. Being nervous can be funny, while being calm, together, pnfident, and perfect can be a bore. Richard Lewis, funny—the pope.

not funny. Being nervous mightfeel uncomfortable, but nobody has ever died from it. If you are worried about dry mouth, then take water onstage with you. Also, pinching your check creates saliva, but do it before you go onstage. Sometimes you'll have to wait hours before you go on and you might find yourself getting really nervous. One way to center yourself is to get still, close your eyes, breathe deeply, and focus on trying to hear your heartbeat. Do this for at least two minutes when you find yourself getting bent out of shape. A word of warning—don't let your fear turn into hostility as a defense mechanism. The audience shouldn't be punished just because you're nervous. "Should I stand still, or move? Hold the mike, or keep it in the stand?" If you have to ask, keep the mike in the stand. This will keep you from pacing, which can make you look nervous—not good if you are being videotaped. It also frees up both your hands to gesture during the act-outs. I usually keep the mike in the stand except when I'm doing a big act-out.

PRO TALK with comic Greg Proops

"When doing short sets, have brief setups, leave the mike in the stand, and let your whole personality come out in the jokes."

"I'm too nervous. I'm a writer, not a performer. I'm going to skip doing a show." Sorry, but you need to perform even if you are a writer because writers need to know how to engage an audience. Let's face it—show business is all about putting on a show, whether it's in front of a nightclub audience or network executives. It's all about selling your goods—your act, your sitcom script, or your talking toilet paper invention. All the same rules apply—be yourself, have fun, and connect.

OK, party time is over. Back to work. Whether you bombed or killed at your open mike, reviewing and reworking your act is absolutely essential. This is what separates the pros from the wanna-bes—a thorough scrutiny of your performance. Doing stand-up well requires constantly reworking jokes. One word can sometimes make the difference between silence and the big guffaws. Professional comics want to know why a joke didn't work and how to fix ii. They're willing to expend the time and energy necessary to perfect their craft and solve the problem. Comic wanna-bes, on the other hand, generally go, "I hate myself, let's get drunk," when a joke doesn't work. Pros don't take bad jokes all that personally—it's about the material. Amateurs take it all too seriously and make it about themselves or about the audience—"They really sucked."

Exercise: Reworking Your Act Lisren to your tape with your index cards in hand. Separate your cards into the Got Big Laughs pile and the Needs Work pile. Take the jokes that worked and put them aside. Now let's focus on the clunkers. But before we play Can This Joke Be Saved? let's go over the basics.

Pre-show

• Did you center yourself? • Did you check out the room? LI Did you drink alcohol?

The Opening PRO TALK mth Phyllis Diller

Did you:

"I never, ever come off and blame the audience. I have the same reaction whether I had a good show or a bad show. After a bad show I want to know what I did wrong, or after a good show, why was it so good?"

•

Becoming a successful stand-up is like becoming successful at anything else—you must be professional and learn your craft. There is a reason why jokes don't work. Let's figure it out together.

PRO TALK with Richard Jati

"It was really a matter of going out to clubs every single night and trying stuff out and taping it and honing and refining it over a couple of years. If you took the time that you spent sitting around during the day thinking about it, and the time that you spent trying it out, and the time you spent listening to the tape, and what the attrition rate is and what actually makes the cut, it came out to twenty-Two hours for every one minute that made it into the show."

I

open with something interesting to the audience?

Q riff off the comic before you?

•

call the moment?

U mention the obvious?

LI say something that alienated the audience right at the start? J

connect to the audience?

Q have a clear attitude for your first joke? • take the lime to breathe? • get hostile to the audience? (If so, was it because you were nervous?) Your Material

Now let's turn to the jokes themselves. Go through this checklist with all those in your clunker pile to find out why they didn't get a laugh. • Did the joke have attitude? Remember, no attitude means no laugh. Did the attitude continue through the whole joke? Jokes without consistent, continuous attitude are usually stories, not jokes, and should be tossed. • Was the topic relatable? Maybe that topic was wrong for that particular audience but could work with a different crowd. As you gain more experience vou will find that each audience has its own personality, and sometimes it out, dial they're personality not going clashes to be with buying. yours. No matter how much you dish

U Was there an act-out? That's what gets the big laughs, so make sure most ol your jokes have them. Q Was there an element of surprise in the joke? Did you do more than just a funny story? Was there a mix thai no one expected? • Were your jokes based on stories, or on premises? LI Did you take more than three lines to get to the funny part? Q Did you pause after the joke, giving time for the audience to get it?

"It's time for me to get a drink of water. I figure this stuff is safe. Actually, I don't care if it's safe or not, I'd drink it anyway. You know why? Because I'm an American and I expect a little cancer in my food and water. I'm a loyal American and I'm not happy until I let government industry poison me a little bit every day. Let me have a few hundred thousand carcinogens here, [drinks the wafer] Ah, a little cancer never hurt anybody. Everybody needs a little cancer, I think. It's good for you. Keeps you on your toes. I ain't afraid of cancer. I had broccoli for lunch." — G E O R G E CARLIN

Eliminate Stories Hack attack warning—stories suck. Despite my many warnings, there's a good chance that a story has snuck into your act. Many beginning comics have this conviction that their life is just so damn funny, and like them, you've probably been saving up all these hilarious stories for years, just waiting for the time vou actually do stand-up. I know it's hard to give them up. I have sympathy— really. But that doesn't change the fact that hysterical stories that kill at a party usually die at a comedy club. Save those stories to put in a oneperson show, a humorous essay, or a novel, but get them out of your act.

Pop Quiz Which of the following arc not topics for stand-up?

Choice #3—"funny story about your breakup"—not funny. Although the topic "relationship breakups" is a good topic, a story about it most likely won't work in a club setting. One problem beginning comedv writers sometimes have is telling stories about their families, rather than molding their family stories into premises that others can relate to. If your material is dependent on an audience having to spend Thanksgiving dinner with you to understand your jokes—keep your day job. )oke writing is topic based, not stoiy based. If you have a funny story about, let's say, your grandmother, you will have only one hit on that topic. If your topic is "grandmothers" you will not be limited by "what reallv happened." Still, it is through our stories we can iind topics to feature in our act.

Exercise: Stories

1. airlines 2. cancer/AIDS/death 3. a funny story about your breakup Answer: "airlines" and "funny stories" are not good topics for stand-up. Choice #1—"airlines"—hack, done-to-death topic. Choice #2—"cancer/AIDS/death"—funny. Steve Moore, a comic living with AIDS, built his II1JO special around this topic.

This exercise will illustrate the difference between a story and a premise. Stories can be converted into stand-up topics if you are willing to throw away the plot of the story (what really happened) and concentrate on finding the premise (the point of the spiel). Look at this story and see if you can find the topic. "I was watching a football game with my wife and she doesn't really understand the game because she said to me, 'Why does number 78 keep patting number 22 on the butt?' And she thinks that it's a gay thing, and I said, 'It means good job.'hi she said, 'Nooo! There's something going on, and I think number 88 is jealous!'"

"When I got AIDS I put a bumper sticker on my car. It says, 'Lose weight now, ask me how.'"

Iriis topic is Do you notice the following?

—STEVE MOORE

"I am a writer/producer/director/breast cancer survivor. Don't feel sorry for me. Cancer was easy—turning forty in Hollywood, now that's a fatal disease!" —DEVO

• •

h takes a long time lo get to trie funny part. There is no way to do another hit on a story.

•

• • •

Stories lack altitude. Stories use past-tense verbs. The words / and mc are in the setup.

The topic of that story is not really "football" but "how women see things differently." The premise of that story could be "Women think in terms of relationships. To them everything is a relationship." Here is the same story put into stand-up comedy format. "Women think in terms of relationships. I'm watching football and my wife sees a player pat another player's butt, and she thinks they're in love, [act-out of wife] 'Number 22 and number 78 seem very close to each other.' Or I'm watching basketball. 'Do Shaq and Kobe get along with each other? They seem mad.' To women everything is a relationship, [mix] They could be watching a sunset, 'Oh, look how the sun is kissing the ocean.' " —THOMAS TAILARINO

Jokes need to be concern rated. Audiences don't care about what really happened in your life. They want you to get to the point, and stories take too long to get there. "But a lot of comics tell stories." Don't be misled. The brilliance of a Jerry Seinfeld, Bill Cosby, or Richard Pryor is that they make it appear as if it's a story coming off the top of their head, when it's actually a finely crafted series of jokes. Here Jerry Seinfeld's topic is "bathrooms." Examine how he breaks down this topic into premises, not stories (premises are italic). "Don't like other people's showers because you can never adjust the temperature right. I don't know the ratio on the dials. Sometimes a sixteenth of an inch is a thousand degrees. Gotta get out of the way of the water. "There's always that little hair stuck on the wall of somebody else's shower. You wanna get rid of it but you don't want to touch it. "I don't know how it got up that high in the first place. Maybe it's got a life of its own, and I don't want to get involved. You got to aim the shower head at the hair but that never works. You got to get a pool of water from under the shower over to the hair. You get it down a foot at a time, like this. The hair is hanging on. "But we have to fight these battles. We are all alone in the bathroom. Whatever goes wrong, you have to handle it. Did you ever go to a big party, go in the

"In 3 test program, forty drugstores in Washington State will be dispensing morning-after birth control pills without prescription. In fact, men can buy them in special gift packs with cards that say, 'Thanks, maybe I'll call you sometime.'" — J A Y LEMO

TV audiences will change channels if they're not interested in Jay's topics. So, popular topics equal higher ratings. Popular guests raise those all-important ratings points too, including many comics. And comics who joke about the topics that the audiences care about and can relate to have a much better chance of getting on Tlie Tonight Show than those who don't. All comedy writers need to have their finger on the pulse of the culture. As part of your ongoing homework, you must read an assortment of newspapers and magazines, watch TV, go to movies, and eavesdrop.

How to Pick Current-Event Topics When creating material based on nonpersonal topics, the usual rules apply

When writing jokes for others or writing for TV, you won't have the luxury of even picking your topic. As a corporate speaker, I am given topics to make funny. The topics themselves are extremely unfunny. For nstancc: . a B

uses of titanium dioxide in paint pigmentation (Kerr-McGee Corp.). aerospace, Mir space station (Boeing) potatoes (National Potato Council)

Not a knee-slapper in the lot. But my job isn't talking about the things I find interesting. I'm paid to customize my humor to fit the needs of these companies and be clean at the same time. It's a real challenge for a ti ashy-mouthed woman like myself. Here are some examples of the jokes 1 tame up with on those topics. Topic, "uses of titanium dioxide," for Kerr-McGee Corp. "It says in your newsletter that 'titanium dioxide has microscopic hiding power.' Great! I'm going to put some on my ass! 'Hey, Judy, you look great! Jenny Craig?' 'No, titanium dioxide!'"

Topic Rule # 1 : Don't pick a current-event topic because you think it's funny.

Professional comics don't pick a topic based on its humor quotient. They pick a topic because: • • •

They have an interesting opinion about it. They have personal experience with it. They have a passionate attitude about it.

Topic: "Mir Russian space station," for Boeing. "What's going on with that Mir space station crashing into the docking ship? It's weird because ground control said it was absolutely human error. The astronauts said it was absolutely mechanical failure. But one thing I know for sure—being a Russian space station, Absolut had something to do with i t ! "

There is no such thing as a funny topic. I can't tell you how many people come up to me and say, "I've got an idea for a comedy routine— 'Girl Scout cookies—S'mores!' So, what do you think?" I think, "I'd like to eat some." There are no funny ideas. It's what you do with an idea that makes it

Topic: "potatoes," for the National Potato Council, at Disney World. "The potato needs more PR, maybe a theme park: Potato World with Spud Mountain . . . Potatoes of the Caribbean!"

funny. Okay, they're not knee-slappcrs, but the farmers laughed and the check cleared. PRO TALK with Steven Wright

"As an exercise I pick unfunny topics and see how I can make them funnv."

Topic Rule # 2 : Don't pick weird topics, but rather have unique opinions about ordinary topics.

Novice comedy writers often pick the weirdest news items ("There is now an animal Prozac") to discuss.

"Wrong w a y : "Prozac is too expensive, so I'm taking animal Prozac. It's okay, but now I squeal like a pig!"

This open-miker created a false premise because she wanted to work her "funny" impression of a pig into her act. But it didn't work, because even though the pig impression was sort of funny, the joke wasn't authentic. Hack Attack!—Current-Event Topics

Hack topics—"penile implants," "masturbating monkeys," "tampon commercials." If your topics are funnier than you, you've got a problem.

bag. and have your comedy buddy do the same. Both of you will pick one topic from the other's bag and work with it for the rest of this exercise. You may feel that you can't find anything funny about the topic you have drawn, and may want to switch to another one. Don't. Commit to this topic for the length of this exercise. Neophyte comics tend to switch topics before they've even had a real chance to explore them because they're afraid they can't immediately come up with material. When you're a staff writer for The Tonight Show, you don't have the luxury of waiting for funny news or easy topics to come along. You have to produce every day and it has to be funny This is an opportunity to stretch your creative muscles, lake it. Write down your topic below:

"Tobacco companies still can't admit that nicotine is addictive. Some moron from R. J. Reynolds said, 'It's all relative. I heard carrots were addictive.' Oh really?

My current-event topic: "NASA space program".

I'll tell you something right now. No matter how many carrots you've had, and no matter how bad your carrot habit becomes—you're never going to have to eat one

Exercise: Topic Rants

through a hole in your neck." —HEATHER ROUNDY

Exercise: Finding the Hot Topics 1. Go to your neighborhood newsstand and make a list of the topics on magazine covers. 2. Eavesdrop on the conversations at your local coffee shop. 3. Write down the topics von talk about with your friends on the phone. 4. Subscribe to a national newspaper like the Australian. 5. Set up your Internet start page to show the day's top news stories.

Exercise: Writing Current-Event Material (with Comedy Buddy) Both you and your comedy buddv take a sheet of paper and rip it up into ten small squares. On each one, write down a current news topic. All these topics must be happening now, they can't reflect last week's news. Your topics can be political, such as elections, politicians in trouble, or international conflicts. Or they can reflect lifestyle trends, such as a new lad diet, a unique fashion style, or the latest hot movie or band. But all ol them have to be topics that most people have heard about—new advances in the field of ichthyology don't fit the bill. Now, put your pieces of paper with their current-event topics in a

Standing in front of your comedy buddy, rant about your topic, using attitude. When you rant, let yourself get angry—yell, talk fast, and pace. Don't give descriptions or, Clod forbid, tell a story. Rather than being funny, be emotional. Tape-record these sessions and listen back to see if there are some ideas you can use. With your comedy buddy, arrange your material into the attitude+topic+premise + act-out+mix structure. Here are some more ideas on writing current-event jokes. Remember that the jokes won't just come out of you fully formed and perfect. It's a numbers game. The more you write, the better your chances are of Scoring. I. Add an attitude (weird, stupid, scary, ox hard), and push your topic into an interesting premise (opinion). Wrong w a y : "What bugs me about the space program is that I was reading the newspaper and I saw that all the astronauts were men and . . ."

Come up with a specific opinion. Bight w a y : "What's weird is that the space program doesn't have many female astronauts."

• • • •

Another way to come up with your premise is to react to other people's opinions. First repeat what you read or heard and then give your hit or opinion on it. "You've heard people say, 'All Sod's children are beautiful.' All 6od's children are

when they found il out who is accusing him who the illegal contributions were from how the president is responding to it

lake each bullet point, turn it into a premise, and create a payoff.

not beautiful. Most of Sod's children are, in fact, barely presentable."

Do this exercise with the rest of your buddy's topics. Out of all these rantings, select three jokes you think will work and write each on a separate index card. I usually write down the setup but not the act-out because writing the act-out seems to diminish the joke's spontaneity. These index cards will stack up, and before you know it, you'll have a chunk of current-event material!

— F R A N LEBOWITZ

"Congress voted against a proposal to have a national seven-day waiting period to buy a gun. Is a week a long time to wait to see if a former mental patient is qual-

I

ified to own an Uzi? Come on, it takes three weeks to get a phone!" — J I M M Y TINGLE

Drive your premise to an act-out. Here's mine on the space program.

Day 19 Action Checklist "It's weird because any woman would give anything to be weightless. 'How much do you weigh, Judy?' 'Nothing!'"

Repeat this exercise two more times on the same topic, with a different attitude: "It's stupid because . . . ," or, "It's hard because . . ." Keep pushing to an opinion, and then drive it to an act-out. "What's weird about the space program is that they are sending old men into outer space. If they can't find their socks, how the hell are they going to find Mars?"

Find a mix by bringing in another element. With authentic jokes, the mix usually goes from the personal to the global. With current-event jokes it's the reverse—they often start off global and then get personal. "[Global] The Hew York Times said that another woman has revealed that she had sex with President Clinton, [personal] I'd never run for president. I'm scared no woman would come forward and say she had sex with me." — G A R R Y SHANDUNG

Comic Steve Marine! supplied this excellent current-event exercise: Read USA Today. Pick one story from it and break it down into bullet points. For instance, if the story is about "The President has been found to have illegal campaign contributions," the bullet list might be:

Q You've done the "Topic Rants" exercise with all ten of your comedy buddy's topics. • You have at least three solid topics with at least three good hits (premises) on each of them. • You have written at least three jokes on separate index cards. • You've created three minutes of current-event jokes.

I

P i e best way to stand out creating comedy material is to create soulful and insightful premises. To recap, a premise is an insight about your topic. It usually answers the question "what's weird, hard, stupid, or scary" about that subject. The way you answer that question is what separates a comic who gets laughs from a comic who gets laughs and gets jobs. To be a hip and happening comic or comedy writer, your premises need to express uniquely original insights. The following, on the other hand, are premises heard over and over at open mikes everywhere. Hack Attack Warning!—Premises

C L.A. is very different from New York. Q I'm half Jewish and half Italian. That means . . . ^ Dating is hard because men and women are different. (Duh!)

I lard to be more boring than that. These kinds of cliche premises arc generally used as preambles to some "really funny" (not) story about something that "really happened" (who cares?). If being a successful stand-up was that easy, all the restaurants in L.A. and New York would be drive-throughs or cafeterias because there wouldn't be anv waiters. Let's look at the kind of premises that the pros come up with. "They're trying to put warning labels on liquor saying, 'Caution, alcohol can be dangerous to pregnant women.' That's ironic. If it weren't for alcohol, most women wouldn't even be that way." — R I T A RUONER

[People say stupid things about homelessness.] "Considering the harm people do

Having great premises will elevate your stand-up career from the dead-end "All the beer you can drink . . . and comedy too!" type of gigs into the realm of college, clubs, TV, and "This kid has a future" gigs. Later in tHis book, you writers will learn how basing sitcom scripts on cuttingedge premises is key to getting your scripts read and sold. Working smart means taking risks because you have to give up "being funny." It means working close to the edge of where comedy meets tragedy. The closer you can get to that line without tripping and falling over, the more brilliant you will be. The danger of walking that tightrope is that you might bomb. There's no safety net with brilliance. But the best and brightest comics take that risk because they are more committed to their vision and their voice than they are to being liked by the audience. "Animals have two important functions in today's hectic society: to be delicious and to fit well. I can't get down on animals' rights because I've never met a person who likes people more than they like animals. You know what people are like. 'I'm going

when they work, laying on the sidewalk is not so bad."

to step over this disgusting homeless person and pet this cute little kitten.'" — F R A N LEBOWITZ — G R E G PROOPS

"I honestly believe if you make the death penalty a little more entertaining and learn to market it correctly, you might just be able to raise enough money to balance the stupid, f**king budget." —GEORGE CARLIN

Sometimes working on what you "truly believe in" takes you to the bottom before it lifts you to the top. Jimmy Tingle, a social and political humorist from Boston, got a shot on Tlic Tonight Slum Starring johnny Carson. But he wasn't asked back because they told him he was "too political."

"It doesn't matter what temperature a room is. It's always room temperature, right?" —STEVEN WRIGHT

"If Jesus Christ were here and running for office, would the Christian Coalition vote for him? 'Mr. Christ, we in the coalition would like to know your views on the

"Doctors are crooks. Why do you think they wear gloves? Not for sanitary rea-

death penalty.'"

sons . . . Fingerprints."

— J I M M Y TINGLE — J A C K I E MASON

"I don't think white women should be calling each other 'girlfriend.' Okay? Stop pretending to be black. And no matter what color you are, 'Vou go, girl!' should probably go. Right along with 'You the man, hey, you the man.' 'Oh yeah, well, you

He didn't change his act. He stuck to his convictions, and in 1999 CBS gave him his big break—he's the new Andy Rooney on 60 Minutes II. If vou want to have a career as a comedy writer or performer, being «Mny isn't enough. You have to have a unique point of view-

the f**king honky.'" —GEORGE CARLIN

Taking a Stand Writing Comedy "You know, you're never more indignant in life than when you're shopping in a store that you feel is beneath you and one of the other customers mistakes you for an employee of that store." — D E N N I S MILLER

Exercise: Smart Premises Most brilliant insights occur spontaneously, while you're busy doing Something else. You might have a crystal-clear realization of why all your

relationships have failed while washing the dishes. You might get a complete understanding of the meaning of life while stuck in a traffic jam. You have to be ready to capture these gems when they come to you. Carry your tape recorder or notebook with you everywhere and write or tape-record every single idea you have, no matter how weird, stupid, or inappropriate it might sound. Be alert to the possibility of a fantastic premise occurring at any moment. Start right now by jotting down five premises that could apply to people who read comedy books such as this. Example: People who want to perform or write jokes mere not heard when they were children.

J>R0 TALK with Phyllis Diller, who is listed in The Guinness Book of World Records as having gotten the most laughs per minute of any comic /dive or dead "I actually got twelve laughs in one minute from an audience. It was Bob Hope who noticed. Of course he would, he is such a constructionist. He goes for six a minute and he realized I was getting twelve. But there is a secret to how you do it! Topper, topper, topper. Most comics do setup, payoff, setup, payoff, in other words six jokes per minute. In my case of twelve, one setup got twelve payoffs."

Here are the twelve jokes that put Phyllis Diller in The Guinness Book ,,f World Records. Setup: "I'm so fat t h a t . . ."

m • • •

Spend an entire day of looking at yourself and others in terms of premises. Throw away all premises in your act that arc hack. lake your unfunny but insightful new premises and run them through the five-Step process (attitude + topic + premise + act-out + mix). Don't throw away good premises just because they don't translate into good stand-up. They might come in handy later, when writing humor essays or a one-person show.

Day 20 Action Checklist J You've come up with at least five new premises. J You've come up with three new jokes. • You've cut all hack premises out of your act.

People's attention spans are short. It's not easy to find a topic that really engages an audience, so once you do get a topic that clicks, get all the mileage you can out of it with a topic run—a chunk of material in which a comic gets a multitude of hits, or laughs, off one topic by using different premises on the same topic.

1. It's Jcll-O with a belt. 2. When 1 sit down it lakes the whole mess five minutes to settle. !. When 1 take my girdle off, my feet disappear. 4. In a bikini I look like a bear in a jockstrap. 5. We didn't have a sunken living room till I arrived. 6. Now we have a Persian throw rug—I sat on the cat. 7. My dress size is junior. . . missile. 8. When 1 wear a white dress we show movies on it. 9. 1 ate my doormat—thought it was a Triscuit. 10. I put my makeup on with a roller. 11. When I blew my nose downtown, a construction crew broke for lunch. 12. I went on the Scarsdale diet—I ate Scarsdale.

PRO TAIK with Richard Jcni "Once you get the audience fixated on a certain topic, why let 'em go? You want to be pounding and hammering on a topic and get that momentum going. If you do an act where each joke is a setup and then a punch and then another setup on a different topic and punch, then each one of those individual jokes better be really good. They each have to stand on their own and there are very few comics that can pull dial off."

Jerry Seinfeld is a master of the topic run. He finds funny in the smallest detail of his topic. He notices and expands upon the minutiae of a subject that most people ignore. Good comics pay attention to the details of life, whether it's a person, an incident, or a moment—and then dissect them into microscopic particles. Jerry Seinfeld just doesn't tell a story about "going to a drugstore." Instead, he breaks down the topic "drugstores" into specific premises.

Exercise: Topic Runs Examine this Seinfeld routine and underline his premises about the topic of "drugstores." "I went into the drugstore last week for a cold medicine and I was totally overwhelmed by it. I'm trying to break it down. I mean there are six thousand products that are perfect for me. This one is quick-acting, but this one is long-lasting. When do I need to feel good, now or later? "Ever catch yourself reading ingredients at the drugstore? 'Three-point-oh tetrahydrozaline. That's a good amount of that.' They know we don't know. They make up words. They always tell us on TV, 'Now with an extra drop of retzin.' Like we're all going, 'Well, finally we're getting some more retzin.' "They always tell you how the medicine works on TV. You know, the commercials, that's my favorite part, where the guy says, 'Here is the human body.' It's always this guy, no face, mouth open. This is how drug companies see the public. "Then they tell you about the pain-relieving ingredient. It's always extrastrength. There is no more 'strength' anymore, you can't even get 'strength.'

•

Your material is story-based. After you finish telling the audience "what happened." (here is nothing left to say. You don't have enough passion or attitude about the topic. The topic can sustain only one funny/cheesy gag. which means it's probably not a real topic. You've hit a creative wall.

a

• a

Good news—if the last reason is the problem, there are ways to overcome the block. Two good ones are mind mapping and list often. Mind Mapping Topics Mind mapping helps you to generate a multitude of ideas by drawing a free-form diagram of the topic. Here's how it works. Pick a topic that you have only one or two hits on, or that you don't know how to make funny. With mind mapping, it's OK not to have any ideas when you begin. Write your topic in the middle of a page and draw a circle around it. Then quickly draw other balloons containing elements of this topic until your entire page is covered with words having to do with your topic. Then locus on each balloon and write offshoots containing the specifics of that topic. Don't judge, just draw as quickly as you can. Seinfeld's "drugstore" routine mind map might have looked something like the one on the following page. Mind mapping a topic is a way to expand your ideas whether you are writing jokes, scripts, or essays.

I

'Strength' is off the market, it's all extra-strength. 'I need extra.' 'What is extra?' 'Well, it's more. We're gonna throw a little extra your way. Don't say anything

about it.' "Some people aren't satisfied with extra, they want the maximum. 'Give me the maximum-strength. Give me the maximum allowable human dosage. That's the kind of pain I'm in. Figure out what will kill me and then back it off a little bit.' "And why does that pharmacist have to be two-and-a-half-feet higher than everybody else? Who the hell is this guy? 'Clear out, everybody, I am working with pills up here. I can't be down on the floor with you people. I'm taking pills from

Exercise: Mind Mapping '-

Examine the "drugstore" mind map and come up with three jokes on drugstores that Seinfeld didn't find. f- Mind map a topic that's already in your act. J - With your mind map in hand, do the "Topic Rants" exercise (page 175) while standing in front of your comedy buddy. The mind map will probably lead you to opinions, mixes, and other aspects of your topic that you couldn't come up with before.

this big bottle and then I'm gonna put 'em in a little bottle. And I'm gonna type out on a little piece of paper. It's really hard.' "

Having problems creating a topic run for one of your topics? It could be because

To

P Ten List

't'other way to find more hits off a topic is to do a top ten list. This way • " u do one setup and keep adding toppers.

Student Trevor Green wanted to talk about being from Oklahoma. To get more ideas, he listed the top ten "stupid things people say about people living in Oklahoma." These are the jokes he ended up with on showcase night:

I

"People from California have the weirdest stereotypes of people from Oklahoma. " 'Have you ever slept with a cow?' 'Maybe an ugly girl or two, but I wouldn't

call her a cow.' "'Have you ever been abducted by a UFO?' 'Yeah, how do you think I got

here?' " 'Have you slept with your sisters?' 'No way! They're lesbians!' " 'Do you have homeless people in Oklahoma?' 'Yeah, we call them farmers.'"

Exercise: Top Ten List

11 v doing a top ten list for one of your topics. Be sure to include one of the attitude words in the heading. Next, add an act-out to each and every one. Cross off the losers and add at least a lew new hits to everv premise.

Day 21 Action Checklist • mind mapped topics U created jokes from a list of ten LI created topic runs on at least three topics

Creating great material is all about rewriting, cutting, and pruning. Here are four techniques'to assist you in sculpting your act: '• 23 4.

cutting out the attitude words callbacks list of three runners

Cutting Out the Attitude Words At this point you should still have an attitude phrase as the lead-in to every joke. "Do you know what's weird about . . . ?" Now that you have (hopefully) developed one solid attitude for each joke, it's time to cut the actual attitude phrase but keep the attitude in your performance so you don't sound stilted.

Exercise: Cutting the Attitude Words Take one joke and stop saying the attitude, while continuing to do the attitude. Suppose your joke starts with, "What's stupid about the elections is that all of the candidates arc lying." Change the opening to, "Oh boy, these elections!" Say it in such a way that you convey how stupid vou think the elections are. Continue the attitude of "stupid" throughout the entire joke, using your voice, your gestures, your stance. Try this with all of your jokes to see which ones work best this way. You don't have to actually remove the attitude phrases from all of your material, just enough of them so you don't sound artificial or repetitive. Vary how you set up your jokes. You don't want your setups to be repetitive by saying the attitude word on each joke as well as repeatedly saying your topic. For instance, if your topic is "elections," don't open each joke with, "What's stupid about these elections is . . . ," or, "Another thing that's stupid about the election is . . ." After you set up the topic of "elections," get to the specific subtopic: "And aren't the way they count the voles stupid?" Instead of depending on the words to convey your attitude, try rehearsing your entire act in gibberish and see if your comedy buddy can tell what the specific attitude of each joke is. Gibberish is speaking using nonwords such as "blah, blah, blah, blah." As you speak in gibberish, hold (he attitude through the course of the jokes. If your comedy buddy can't tell what the attitude of a joke is, try it again really exaggerating the attitude.

Callbacks A callback is when you call back, or mention again, something you brought up earlier in the act. The great thing about callbacks is that you're practically guaranteed to get a laugh. For me, callbacks usually occur sponta-

neously when I'm performing, and then I keep them in the act. Let's saw for instance, that in the beginning of my act I find out that a guy in the front row- just got a divorce and his name is Mike. Later in the show, when I'm setting up a joke about "guvs whose wives run off on them and they end up drunk and alone," I add, "like Mike here." Big laugh. Audiences l,,ve when a comic keeps track of what is going on and can lie things together. In this example, comic Diane Forte calls back to a joke she made at the beginning of her act, using the phrase "Somebody's in here." [First joke] "It's weird, when you're in a public rest room and someone knocks on your stall, that everyone always says the same thing, 'Somebody's in here!' Somebody? How come we don't say, 'I'm in here'? Are we too embarrassed that someone's going to guess who we are? 'I'm in here . . . Diane Forte!'" [A joke five minutes later in the act] "The weirdest thing I've ever heard about cemetery plots is that in Paris, France, you can actually lease them. How's that work? What happens if you don't pay the rent on the first of the month? Do they dig you up and knock on your coffin lid? 'Somebody's in here.' "

— D I A N E FORTE

Exercise: Callbacks Look through your material and see what you can find that you can mention early in your act and then bring back later. For instance, if you joke about how disgusting it is when your lather cleans his ears at the dinner table in the beginning of your act, you can do a callback later by saying, "So, I'm on a date and I'm cleaning out my ears and . . ." List of Three three is a magic number in comedy—there's a rhythm that just naturally Works. In the list of three the comic sets up a pattern on the first two Meas and then turns it on the third. For instance: "I like Florida. Everything is in the eighties: the temperature, the ages, and the

IQs." —GEORGE CARLIN

"Black people should get social security at twenty-nine. Black people don't live

Runners

that long. Hypertension, high blood pressure . . . NYPD."

A niinur is a catchphrase that runs through your act. It is based on your persona. Your persona is your character, your voice.

— C H R I S ROCK

"Hypertension" and "high blood pressure" set up a pattern and Rock turns the joke on the third—"NYPD." 1 lere Nick Griffin sets up a similar pattern: "The thing I hate about these [muscle-bound] guys is that they are predictable. You know, they're big, they gotta walk around in some ripped T-shirt with some tattoo skull and crossbones, barbed wire. OK, we get it. 'You're big, you're mean, Paddy didn't hug you.' Whatever." — N I C K GRIFFIN

See how the first two set up a pattern of expectancy and the third one is the surprise.

I have purposely not mentioned persona until now because one of the biggest mistakes a beginning comic can make is to decide on a persona or a runner and then force her material to fit it. If you try to make your act fit into a predetermined box you'll end up limiting yourself. Instead, create the best material you can and let your persona evolve from that.

with Woody Allen, quoted from I he Cireat Comedians, by Larry Wilde (1972)

"This is exciting. A woman recently had a baby from an embryo that had been

PRO TALK

frozen for seven years. She said, 'I had no idea if I was having a little boy, a little girl. . . or fish sticks. —CONAN O'BRIEN

Exercise: List of Three Practice creating lists of three by filling in the turns of these unfinished lists. "You have to break up when he (or she) . . . " 1. has an affair 2. doesn't respect you 3. issues a restraining order (or

Roseanne Barr: "I'm a domestic goddess." Rodney Dangerfield: "I don't get no respect." Dennis Miller: "I don't want to get off on a rant but . . ." Joan Rivers: "Can we talk?"

"There was never any sense of image. I just wrote what I thought was funny and wanted to perform it. I found after a year or two of performing that some sort of image formed itself. The critics and the people would come away and agree on certain images they had of me . . . certain aspects. I think the worst thing I could do would be to believe the images of me I read in the newspapers. Whatever I feel is funny, I do, no matter what it is, without any regard to the subject matter, and if an image emerges, fine!"

'

)

"You know you're not going to get that promotion when . . ." 1. you lose a big customer 2. they take away your secretary 3.

Go through your material and make sure anytime you start a list, the third item mentioned is a laugh. See if you can add a list of three to any of your jokes.

Exercise: Creating a Runner Go through your act and see if there is any through line that can be summed up in a sentence. It might be an overall emotion, such as "I'm bitter!" or a repeating phrase such as Judy Tenuta's "Well, it could happen!" If you can't come up with a runner right now, that is normal. Sometimes it takes years to find.

Day 22 Action Checklist U • J .3

cut out saying the attitude phrase before some jokes practiced my jokes in gibberish looked to see if you can add a callback to your act created a list of three

-I created a runner (or at least gave it serious thought)

N o t i c e h o w old these topics seem. S o m e t i m e s y o u can stockpile certain types of c u r r e n t - e v e n t s jokes. For instance, y o u might have a holiday c h u n k y o u can use every December. However, most current-event topics have a very short shelf life, which is a n o t h e r reason w h y every comic a n d comedv writer has to learn to create jokes on a m o m e n t s notice. Even if you are a prolific joke writer, if y o u do only c u r r e n t - e v e n t jokes you'll e n d up c o m p e t i n g w i t h all the pros on TV. By the t i m e t h e a u d i e n c e sccsjwi/current-evenl joke, t h e y will have p r o b a b l y already h e a r d it. T h a t ' s w h y it's i m p o r t a n t to have t h e bulk of y o u r act rooted in t h o s e a u t h e n t i c topics t h a t can last for years: " c h i l d h o o d , " "puberty," " p a r e n t s , " a n d so on.

G a t h e r up all y o u r index cards t h a t list y o u r t o p i c s — b o t h a u t h e n t i c a n d current e v e n t s — a n d r u n y o u r entire act for yotir c o m e d y buddy. You will

Exercise: Honing Your Act

b o t h be able to feel which jokes are clunkers. T h e y are the bits t h a t are:

Go through all of y o u r index cards.

•

confusing

•

obscure

•

out of date

•

long

•

hack Tear up the index cards with t h e clunkers a n d t h r o w t h e m away. W h a t

is left is y o u r act. It will be up to an a u d i e n c e of strangers, however, to

1. On each card, circle one topic. (You should circle only one topic and one joke per card.) 2. Make sure the topic is relatable. 3. Write an attitude word on each card. (You don't have to say it, but you must act it.) 4. Is that attitude expressed by any of the following words: stupid, tveirtl, hard, bugs me, scary?

decide w h a t actually w o r k s . T h e good news: y o u p r o b a b l y have at least

5. Does each topic have a premise that is written out?

t h r e e m i n u t e s of current-event jokes, plus even more material t h a t is based

6. Does that premise answer the attitude-topic question? ("Do you know

on y o u r personal issues. T h e b a d news: in t o d a y ' s c o n s t a n t l y changing

what's weird?")

social a n d political climate, c u r r e n t - e v e n t jokes b e c o m e real o l d real last.

7. Do most topics lead to an act-out?

D o n ' t be surprised if the c u r r e n t - e v e n t joke that got a big laugh on M o n -

H. Docs the act-out have the same cast of characters as the setup?

day gets no reaction by Friday.

9. Does the aci-oul exaggerate the attitude?

Because the world changes so quickly, beginning comics should limit

10. After some act-outs, do you have a mix?

c u r r e n t - e v e n t jokes t o n o m o r e t h a n 2 0 p e r c e n t o f their act. W r i t e r s also

11. Do you follow the mix with another act-out?

d o n ' t w a n t to s u b m i t sample jokes t h a t are d a t e d . At the t i m e of this writ-

12. Do you have a lot of hits on most topics (topic run)?

ing w h a t ' s going on is:

13. If you have a list of three items, is the third one a turn?

Bush is elected president in contested election. Holiday depression hits hard. Viagra is the best-selling drug. Teenagers are piercing a variety of body parts. The Utility industry is deregulating. One-year-olds are taking 1Q tests. Sony PlayStation 2 is sold out.

Day 23 Action Checklist -I You've tossed the clunkers. Q You've gone through the keepers to make sure that they meet all the good joke requirements.

Working New Material into Your Act

PRO TALK with Phyllis Oilier

For your second performance you will be adding no more than two minutes of current-event material and repeating the reworked material based on your life.

Repeating Old Material Stand-up is about constantly reworking material until it falls into the "just right" groove. Once material lands in that perfect groove, stop fussing with it. Sometimes changing one word in a joke is the difference between hearing laughs and hearing a pin drop. So if a joke ain't broke, don't fix it. The challenge for all comics is making old material sound fresh—like we just thought of it that moment. Material becomes stale when the comic is no longer in toucb with the emotions (attitude) that drove the joke initially to a laugh. Have you ever told a funny story at a party and got a laugh and then told the same story again to utter silence? The first time people tell a story, they picture it as they tell it, putting themselves inside the story. The second time they tell a funny story, they usually go for the laughs, the reaction to the story, and this puts them outside the story. When this happens with stand-up material, there are only two things to do:

"Placement of jokes in your set list is very crucial. 1 put new jokes in a line at a time or a bit at a time, someplace I think it would be OK. I have taken a line out from a place it has been for five years because it wasn t getting the laugh that 1 thought it should. 1 play with my material, but once you get it set it's like Mozart—you don't even change a rest."

Sandwich the new material between material that you know is solid. This is the best way to find out if your new stuff works. If the old joke gets its usual laugh and the new joke that follows it bombs, you'll know the problem was the joke and not the audience. The old joke after the new one will rescue you, get the audience back on track if the new joke falls Hat.

Cut it. or Get back into it.

Exercise: Picturing It To get the spontaneity back into your material, picture what you arc talking about and feel the attitude as if the event just happened and this is the first lime you're mentioning it.

PRO TALK with Greg Proofs

"Stand-up is like jazz—you're not going to do the same material every day but you're going to weave in and out of the scene. You can make it sound just like the album or you can take off."

Exercise: Sandwiching In New Material

Exercise: Holding for the Laughs

Create a set list with your new material in between jokes that you feel confident about.

IVi-form your act for your comedy buddy and practice sustaining the attitude and holding for the laughs. Time your acts and limit yourself to do no more than five minutes for this performance.

Timing One of the most important aspects of performing comedy is timing. Unfortunately, it's not something you can learn from a book, try to do right, or even think about. In fact, if vou arc thinking about your timing, you can be sure it's off. Ever try to dance with someone who is counting out loud? Enough said. Attitude creates timing. If you are really into the attitude of each joke, then you don't have to worry about timing. Here is a tip that can also help keep you from stepping on the toes of your jokes: Don't talk while the audience is laughing. Siand-up is not a monologue—it's a dialogue with the audience. You talk, then the audience talks (by laughing, hopefully), and then you respond to the audience. You wouldn't talk while someone also was speaking during a conversation, so shut up after each joke to give the audience time to laugh—or otherwise they might not.

"What do I do while I'm letting the audience laugh? Just stand there?"

Adding Tags You never "just stand there"—always convey an attitude. So while the audience laughs, you add a tag to the joke by repeating the attitude. For instance, if the joke starts off, "It's weird . . . ," at the end of the joke, tag it by repeating, "It's weird." This tag can be said quickly, as if to yourself in you can shout it. It can even be unspoken, perhaps shown by a shaking of vour head. But one thing the tag should never be is absent. There should never be even one moment when you are onstage and attitudefree. It's the kiss of death because audiences respond to emotions, not words. "Wliat about talking to the audience? Asking them, 'Where are you from? How are you all doing?' "

Talking to the Audience

END JOKE curve = laughs

Look at the laugh graph above. When you end a joke, it takes a few seconds for the audience to laugh, which sometimes seems like an eternity. Amateur comics will start their next joke at A, cutting off the laughs. A pro will put off starting the next joke until B, letting the audience laugh.

.

'n the old days comics didn't talk to the audience because it took away from their act. But these days, with TV talk shows, live chat on the Internet, and everyone out for their fifteen minutes of fame, there is less of a division between the show and the audience. Now, comics need to know not just how to talk to the audience but also how to respond to what they Sa y with humor. Since you are only doing five-minute sets at the moment, •-'lis isn't really a big concern for you yet. But as your career grows ii will °1' challenge you'll face. Even TV writers need to hone this skill because Producers can often sound like hecklers. And if you can handle hecklers as a stand-up comic, it will make all future hostile situations easier. Here ar e some tips from veteran Texas comic Dean Lewis.

•

•

The majority of hecklers are men. Women tend to be hecklers only when drunk. M e n usually heckle because they want to challenge you and gain control. D r u n k women heckle because they want attention. If either gets what they want (control or attention), they will keep coming back for more. Do n o t give it to ihem.

B

Men heckle if they sense weakness. Take control of the stage as soon as possible. Do this by having good microphone technique, having strong material, making eye contact with audience members, being energetic, and getting onstage quickly. Avoid looking meek.

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T h e way you give the audience opportunities to heckle is by taking too long to get to the funny. The sooner you get laughs onstage, the less likely

2. Phrasing the comeback so it has to be answered makes the situation no win for him. No matter how he responds, he will sound foolish. Once again, this gives y o u more control in this situation. Here is an example. A comeback to a heckle might be, "You, sir, are the reason why brothers and sisters shouldn't marry!" Very funny, but the problem is t h a t the heckler can now slam you. Here is a better way to use the comeback in the form of a rhetorical question: "Sir, does it bother you knowing that you are the result of your father marrying his sister?" No matter what response he has. he will now sound stupid. If he says, "No," you can make fun of that. If he says, "Yes," then he has admitted that he is an interbred freak, and you can make fun of that. Either way, the heckler will realize that he is in a no-win situation and shut u p .

vou are to get heckled. •

If you get heckled, alwavs ignore it at first. The heckler just wants to get some attention. If vou stop your show and slam the heckler, he got what he wanted. In other words, he won. It is better to ignore the heckler because this prevents h i m from getting what he wants.

•

If the heckler is with somebody, ask her or him to make the jerk shut up. T h e heckler may be trying to impress their date and if you make their date feel uncomfortable, then the heckler will probably not want to continue with the situation.

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If a heckler persists in challenging you, try getting the audience to shut t h e m up for you. Ask the audience if this person is bothering them. They will usually respond with a loud "Yes!" Or applause. Usually this will embarrass or appease the heckler so he will shut u p .

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you, so if you stop your set to pick on this one person, the audience can turn on you. They didn't see a problem, so it appears as if you are just a jerk comic picking on a helpless audience member. It is almost always best to phrase a comeback to a heckler in the form of a question. The reason for this is twofold: 1. Asking someone a question causes him to stop and think of an answer. This breaks any rhythm he may have. This pause gives you a chance to slam t h e m with another comeback, make fun of how slow he is responding, or answer the question for him in a funny way In other words, you've taken control of the situation.

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Never hit a heckler harder than they hit you. For example, if the heckler makes a comment about your hair, and you respond by slamming the heckler's mother, you may shut them up but you will very likely lose the audience. You cannot come back too hard or you will appear to be a bully.

It vou want to dialogue with the audience as a way of involving t h e m more in your set by asking the audience a question, make it a simple rhetorical "yes" or " n o " question. It is fun for the audience to get involved in your act, but this does it in a way that doesn't encourage t h e m to yell out long answers. For instance . . .

If thev heckle your hair, come back with something about their hair. If Wrong w a y :

they slam your shirt, you can then say something about the way he is dressed. •

[Talking to man in the audience] "What did you think of the Super Bowl?"

Try to distinguish between a heckler and somebody who is verbal and This p u t s s o m e o n e o n t h e s p o t — h e h a s t o i n s t a n t l y c o m e u p with a n

just having a good time. Some people will respond to your material by laughing and talking back to you. T h e y will say things like, "I heard that," or, "I know that's right!" and so on. These are n o t heckles! This is

Opinion. It's also risky, because he might say s o m e t h i n g t h a t ' s funnier than y o u r next line.

the way this person responds. Stopping your show to deal with this type

Right w a y :

of interruption is a mistake. The verbal audience member doesn't realise "Anybody watch the Super Bowir

he is a pest. If you make a big deal out of it, two things will most likely happen: (1) T h e verbal person will hate you for making them feel foolish(2) T h e audience probably doesn't know that this person is bothering

This involves t h e a u d i e n c e w i t h o u t p u t t i n g a n y o n e o n t h e spot a n d e

'icits a simple "yes" or " n o " answer.

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If something happens in the room, respond to it. Saying anything immediately is more important than thinking for a few seconds and then saying something "funny." Respond to a disruption ASAP! This helps keep the audience focused on the show and not ihc disruption. You don't warn to be a joke machine who just gets up and delivers material. You should comment when a waitress drops a tray of drinks, or five people get up and leave, or someone asks you a question. If you say, "I'm going to college," and someone asks, "What college?" you have to answer. When a mishap occurs, such as the mike stand breaks, the lights go out, or there is a puff of smoke from the grassy knoll, acknowledge it. When you call the situation, it puts the audience at ease. They see that you're not thrown by what happened, and they don't have to feel sorry or embarrassed for vou. Make a joke about it and move on.

•

If it's a small crowd, less than fifty people, talk to them because they'll tend to laugh more in their heads than out loud. That's especially true if they are spread out in a room. Invoking the audience in a conversation reminds them that they aren't watching TV—you can hear them, and it's appropriate to laugh out loud.

•

Talk to the audience in small increments rather than large chunks—otherwise it will seem like filler. Audience members can feel very uncomfortable when the comic talks to them. Most people in an audience do not want to be the center of attention. Therefore, trv not to talk to one person immediately. Talk to the audience as a group, then maybe address a row, and then a table, and finally one person. This way you have slowly gained their trust as you worked your way down to one person.

•

There are certain occasions when you shouldn't talk to the audience: •

When your performance is also an audition. A producer wants to know that he can buy the act he is seeing. Even if your improv with the audience was really funny, it's something that can't be recreated. • When a club manager tells you not to talk to them—don't. • When you're doing only a five-minute set. And while we're on the subject: don't waste your time doing improv with the audience. The audience will sense that you're using them as filler and resent having to pay $10 for a beer ami write your act. They don't mind being a part of the show, but they don't want to be the whole show. • Don't start every setup with a question like "Anybody here on a date?" U gets redundant really fast. Space your questions out throughout your act.

and ask them only if you have a good reason for doing so. In other words, you have a punch line for their response. The biggest key to talking to the audience is listening to them. Relax, breathe, and listen. Remember, the audience is more scared to talk to you than you are to talk to them.

Keeping Your Energy Up and Out Energy drives an act. Without energy there is no performance. The way that energy expresses itself can be anything, from the quiet concentration of Steven Wright to the intense ranting of Dennis Miller, but it has to be there in everything you do and say for every moment you're onstage. Before I go on, 1 always feel a surge of energy inside me. Call it nerves, excitement, or incontinence—I'm bursting with it. It's not very comfortable, which is why some comics try to escape it with drugs or alcohol. Big mistake, because both of them will screw up the liming and connection to the audience. Being sober onstage enables me to be in control of my energy releases. When I set up my joke, I pull in the reins on mv horses. During the act-out, I let them gallop at full speed. After the laughs I pull them back in again to set up the next joke. After a while you'll probably get a feel for this too and be able to pull in your energy and then release it again. Don't drink or do drugs to smooth out your nerves. Ride the wild horse and just stay out ol your own way.

Exercise: Sustaining Energy Perform your act for your comedy buddy so that she can make sure your energy level is controlled during the setups and up and out for the actouts.

Day 24 Action Checklist -J Q Q Q £l W

reconnected yourself to your authentic material worked current-event material into your act practiced holding for the laughs carried the attitude of the joke into a tag had comedy buddy check to make sure you kept energy up in your act timed your act and cut it to five minutes or less

doing niche material that works only for a certain kind of audience. Later in this book I will show you how to market your act. But the general rule is—if the joke doesn't get laughs, it isn't funny.

PRO TAIK with comic Andy Kindler

|To the audience| "1 know you think I'm having a bad set. I'm not, you're having a bad set. Go home, read a book, study, and in ten years you will be laughing at this stuff."

"My act went really well. Ant I ready for the big time?" More than any other creative field, stand-up comedy lets you know exactly how you arc doing. The audience tells you instantly. When you can make an audience laugh constantly for one hour, you'll be making the big bucks. Until the checks with lots of zeros start pouring in, here's a way to put your performance in perspective.

LPM (Laughs per Minute) Formula (Courtesy of Davey DiGeorgio, staff writer on Laic Show with David Lettcrnian and former student.) Listen to the tape of your set and give yourself points at the end of each joke according to this formula: LOUD laughter and EVERYONE applauds = 5 points LOUD laughter and a SMATTERING of applause = 4 points LOUD laughter from EVERYONE and NO applause = 3 points MEDIUM laughs = 2 points SMATTERING of laughs = 1 point ' Add up your total laughter points. 2- How many minutes were you onstage? 3. Divide line 1 by line 2 and enter your LPM here. 12 to 20: You are rockin', baby, and if you aren't making the big bucks yet—you will.

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9 to 12: You're doing well and are ready to get paid, but think about shortening your setups. 6 to 9: Nol bad, but not ready for the big time. Below 6: Something ain't working. Use (he guidelines on page 167, "Reworking Your Act," to get better. Congratulations, you've completed the joke writing/stand-up course. If you really loved being onstage, you might want to consider a career as a stand-up comic. If performing is not your thing but writing is, there are many opportunities for comedy writers. Whether you are a writer or a performer or both, you need material, and a lot of it. The next section provides exercises on creating more material on a daily basis.

Being a comedy writer or a stand-up comic is not a nine-to-five job. It means spending twenty-four hours seven days a week looking for the funny, writing the funny, and performing the funny. You are constantly documenting your perception of the world through your unique filter. This filter transforms the ordinary into the extraordinary—or at least into the funny. Civilians (what I call everyone not in the creative business) might be annoyed by a rude salesman, but the comic thinks, "How can I use this?" Life becomes a nonstop hunt for material. When civilians meet a strange character, they might think, "Weirdo. I'm getting out of here!" But we creative types enjoy engaging with the peculiar types because they can be rich fodder for material—an amusing character to act out in a joke or write into a sitcom. If you are serious about comedy, your \\hole life revolves around getting material.

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A comic can never have enough material. Professional comics and comedy writers usually have a stockpile of two hours of good material. Working comics carry a Rolodex of jokes in their heads that has material right for any audience. College students—no problem. Senior citizens—no problem. Convicted felons—well, problem. Wc all get stuck. The following exercises can inspire you and help keep new material flowing. Some might work better for you than others. Get in the habit of doing at least one exercise every day

PRO TALK with Chris Titus

What does this stand-up comic and star of his own sitcom, Titus, do when he is stuck? "1 sit down and write crap for forty minutes. Everybody thinks that they have to write funny, every line. All you have to do is pick a suhject and write about that and then pick another subject and write about that. I guarantee you that at the end of forty minutes, you will crank out a funny line because it lakes forty minutes for your brain to click over from the dealing-with-life side to the creative side. Then go back to what you wrote and fix it. And the more writing sessions you have, the quicker your creativity will click in."

Exercise 1: Using the Internet One ol the biggest misconceptions about writing comedy is that you start by coming up with funny ideas. If I had to wait for something funny to strike me before I wrote, I wouldn't be writing much material but I would be taking a lot more drugs. The "funny first" approach to creativity can be stifling and depressing when nothing seems funny. A more productive approach is starting with an unfunny topic and making it funny. And if you're having a hard time finding new topics, the Internet can steer you to the hot topics that are on everyone's mind. News sites and chat rooms are a good source for new topics, and search engines will help you leant more about them. When I worked for the National Potato Council (no joke), I

did a search on potatoes and found out tons of information on topics like cross-hybridization, crop rotation, and potato diseases. "What's up with blight?" Find three unfunny topics on the Internet that you don't cover in sour act. Spend an hour researching them and come up with one good new joke. Starting today, if you come up with just one great new joke everv day, you'll have an hour and a half of great material in a year.

Exercise 2: 60 to a Newsstand If you can't squeeze out any more jokes about that dysfunctional family of vours, gel out of the house and hang out at a newsstand—it's a Mecca for premise seekers. Magazines entice you to buy them by putting catchy headlines on the cover. Comics need catchy setups to entice the audience to listen, and writers need to keep topical. The headlines on a Cosmopolitan cover are often the perfect setup for material chunks. ("Ten ways to attract a man." "How do you know when you need a therapisi?" "Ways to break up a relationship." "What's hot in music today?") Magazines spend millions on market research in order to be hot, hip, and happening—why not benefit from what they've learned, for free? Mine for comedy material by using the magazine headlines as a premise for a list often, a mind map, or a rant.

Exercise 3: Turn Stories into Comedy Topics Ready to take a walk on the wild side? This exercise is potentially very dangerous—don't do it unless you promise to follow the directions to a tee. If I've said it once, I've said it a million times, stories are the kiss of death to joke writers. However, it is possible to turn these bombs to blowaway comedy. First, in your idea book wrile out a funny story about something that happened to you. Then circle any one- or two-worded topics and list them here:

Now gjve these topics an attitude and see where the emotion takes you. Forget the story reality, "what really happened" and so on. Instead let the attitude take you someplace you've never been before. Let yourself be surprised.

PRO TAIK with comic Kutliy Griffin

"When writing material I look to what happened to me that week. I'm in heaven if there is some horrible movie of the week on or if I had a crazy run-in with a celebrity. Or if some guy just dumped me—I'm golden. What's funny is anything tragic. We just had our Griffen family Easter and it was just a disaster where my sister-in-law got drunk and everything got hideous and ugly, and I thought—this could be good funny."

put. Many limes comics create jokes backwards—they Start with the actout and then find the setup. Richard Jeni transformed an act-out of an NFL referee into a killer routine that he performed on I he Tonight Show with Jay Law. lie started with a premise. "Referees slop the entire game so the referee can click a button on his belt, activate a giant sound system, and point the guy out in front of the whole country and humiliate him. It's so unnecessary, [acf-ouf] 'Pssht. [he clicks his belt] The reason we stopped, the reason we're all hanging around out here not doing anything right now is because some people don't seem to know the rules. Isn't that right number [pointing] seventy-one? Seventy-one, I can't even look at you.'"

Then Jeni found another premise. "It's a human thing to want to be heard, [he then acts out a mix of a sixty-two-

Another way to turn a story into comedy material is to write out a story and create a joke every four or five lines. Continue the same joke writing throughout the entire story.

year-old guy who just wants to talk] 'Uh, there was no penalty. This has nothing to do with the game, the players, or the National Football League. I need to talk. I can't keep this up anymore. I feel like an idiot out here. I mean, sure I'm the ref, but who am I to judge these players? I mean, look at some of the choices I've made

Exercise 4: Talking on the Phone with Friends

in my own life. I'm sixty-two years old and I'm a freaking referee. I'll be honest

with you.'"

When talking on the phone with friends, write down anything you (or they) say that gets a laugh. Write down all topics that you talked about and do attitude runs on them.

Exercise 5: Comedy from Characters

Jeni sal down on the stage and continued this act-out/mix of the referee. " 'My wife is getting fat as a house. I'm telling you . . . I don't know . . . I love my kids but if I had to do it again. . . Ooh, I'd wear a condom.'"

PRO TAIK with George Wallace

"Most people write my material. People will come up to me and saxsomething stupid. 1 was at the airport waiting for my luggage and a lady comes up to me and says, 'Mr. Wallace, mighty quiet today' And I'm thinking, 'Well hell, I'm standing here by myself. Who'd I be talking to?' "

Spend the day noticing the people who cross your path. Make a list of these characters and find places in your act where you can act them

Fie took the act-oul/mix even further. " 'You know what's really bothering me? I just kind of feel like I'm a woman trapped in a man's body. Do you ever dress up in your wife's panties when nobody's home? Give me a pair of panties and some perfume, I am one happy ref. The hell with football. I feel a lot better now. We better get back to the game, [he stood up] First down!'"

Writers especially will find that keeping a journal of characters will come in handy when writing not only jokes but comedy scripts.

Exercise 6: Stream of Consciousness Writing

Exercise 7: Mixes

In the morning, spend ten minutes writing stream of consciousness— whatever comes into your head—ignoring all rules of grammar, spelling, and even logic. It could look something like this:

Write ten "what if's." For example, "What if dogs had thumbs? They could open the door for themselves. They could hitchhike instead of walk. They could give movie reviews—'Gone With the Wind. Good story, but not enough dogs. Thumbs down!' " (Don't steal that. Write your own.)

Woke up with a dream of dead goldfish and looked outside and it was another cloudy day. Dark, dark. My vegetable garden is a mess. I forgot when I planted seeds that something would grow—yeah, weeds. Oh, I've got 10 pick up my photos at one-hour photo which have been there for a week. Boy am I hungry. Breakfast and then there's lunch. That's what I want. But I have to get out of bed. A maid would be nice . . . These stream of consciousness ramblings are the raw material of your unconscious mind, and there arc probably some authentic topics in there that haven't surfaced yet. Circle any words that can be topics, maybe even freely associate to them, and then run them through the joke development process. For example, for the above list topics could be • • • • • • •

death goldfish as pets breakfast lunch maids vegetable gardens one-hour photo A joke might come out of these topics: "In L A . relationships don't last. You go on vacation and break up by the time you come home. Thank God for one-hour photo, so you can see your vacation photos while you're still in the relationship. 'Honey, look how happy we are . . . [looking around] Honey?'" "I don't understand why people say, 'I want to kill myself, I have nothing to look

Exercise 8: Writing Opinions on Current Events Write a list of the headlines off the Internet news sites or today's newspaper. Pick at least two current-event topics and write ten opinions about each of them.

Exercise 9: Rants and Raves Tape-record yourself ranting out loud for ten minutes about one topic. Do not stop talking. Keep the energy up and the attitudes flying- Listen to the tape and write down any material that might have emerged.

Exercise 10: Comedy Buddy Exchange Exchange topics with your comedy buddy and write jokes for each other.

Exercise 11: Characters Make a list of the people who have had a big impact on your life. These should be people you actually know. (Don't put down the pope unless the two of you had some funny chats while you chauffeured the Popcmobile.) This list could include husband, first love, ex-wife, Weight Watchers meeting coach, cell mate, current lesbian lover, and so on. Pretend to be them. Have your comedy buddv interview you as that character. Put these characters in different situations and find their opinions on different topics. See what material these characters generate and work backWards from vour act-outs to find premises and setups.

forward to.' How can anyone not have anything to look forward to when there is

lunch!" Exercise 12: Detailing an Event Write out the details of the first two hours of your day. Include the most • i n u t e details.

"Wrong w a y : Woke up, ate breakfast, and went to the beach. Right w a y : Woke up with my dog licking my face, wanting to be fed. I went to the bathroom, washed my hands, and went into the kitchen to face all the leftover dishes from last night. My dog licked the dishes as I put them inio the dishwasher. Underline every topic and, next to each, write other things about that topic. For example: Dogs—I let my dogs lick my dishes, but when people are over I pretend to be shocked. "They've never done this before. This is disgusting!" / washed my hands—Does everyone really wash their hands after they use the bathroom? Or do we just do it when other people are watching? What else do we do or not do when other people are watching?

Exercise 13: Buddy Up Write twenty topics on separate pieces of paper. You can get these topics from the Internet, magazines, newspapers, TV, whatever. Then as quickly as possible, pick one out of a bag and put a "What's up with" in front of it and riff on it until you come up with an opinion. Then have your comedy buddy come up with an opinion on it. Then you come up with another opinion on it. Keep going until each of you has come up with three opinions on each topic.

Exercise 14: Stepping-Stones of Life Make a list of the major stepping-stones of your life, keeping the descriptions brief. For instance: puberty, going to college, getting married, your first bra, your first walker. Take a stepping-stone and mind map it. For instance, if the steppingstone was college, then your circles might include leaving home, parents being alone, dorm rooms, roommates, drinking, livingfor thefirst time without parents, early morning classes, cafeteria food, studying, drinking, and more drinking. This is a very powerful exercise. Mind map a different stepping-stone every day until you've clone them all.

Need more exercises? Go to iviviv.enmedyworkslwpS.com for new writing exercises. Study and restudy the rules of comedy until they are second nature. Then cut loose and ride your talent. Technique can carry you only so far. Passion and soul have to take you the rest of the way.

One-person shows were the path to success lor such powerhouse comic actors as: •

Lily Tomlin Whoopi Goldberg H • Chazz Palminteri • Spaulding Gray • Chris Titus • Pee-wee I lerman (Paul Reubens) • Julia Sweenev (the androgynous character Pat on Saturday Night live) m Rick Reynolds What is the difference between stand-up and one-person shows? When doing a one-person show . . .

c

|Ppinducers, development people, and network executives are scouring •JET small theaters in search of the next break-out talent, so one-person shows have become a great way to be discovered. These shows are similar to a play, but all the parts are played by one person. One-person shows can be a collection of character vignettes, but usually they are fully developed, highly personal stories. A one-person show doesn't have to be humorous, although most of them are. Actually, the subject matter is often serious, but the story is often told in a funny way Rather than reducing the emotional impact of the story, the humor in a good one-person show actually heightens it—sometimes to the point where the audience is actually laughing through their tears. These shows are generally written and performed by the comic but produced and directed by someone else.

PRO TALK with Judl Brown, talent coordinator for the U.S. Comedy Arts

• • • • • •

You don't have to make the audience laugh the whole time. You tell a dramatic story, using humor. The show is at least an hour with no opening act. You don't have to include the audience in your show. You usually act out a number of characters. Your audience is usually sober, but not necessarily—many comedy clubs present one-person shows.

PRO TALK with Mark Travis, director of the one-person show A Bronx Tale,

Dana Gould's Insomnia, and many TV shows "Stand-up consists of disconnected pieces or jokes. As a matter of fact, sometimes the more disconnected the jokes are from each other, the funnier the comic is. A one-person show has a story line. While a stand-up comic focuses on getting an immediate reaction from the audience after every joke, a person doing a solo show takes the audience on a journey"

Festival (Aspen) "We collect a number of one-person shows, and the performers range from newcomers to established actors. We look at the shows from a development standpoint. Do they tell a story and is it a story that we can develop into a show?"

When you perform at a club, you're obligated to fulfill the expectations of the owner, which is to make the audience laugh a lot. This means ftat any piece that goes longer than fifteen seconds without getting a laugh is thrown out. Any piece that is emotionally moving gets tossed too. Comedv club owners don't like it when their customers cry. Most

audiences don't want to feel touched either—that's not why they came ihere. But if you shine at storytelling or doing characters, you might want to consider doing a one-person show in a theater. "How do I know if I should put together a one-person show?" Examine your motivation for doing it.

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Claudia Shear's one-person show Blown Sideways Through Life, recounted sixty-four of her temporary jobs. Her sold-out off-Broadway run won the prestigious Obie and was job number sixty-five. Whoopi Goldberg did a one-person show that included a repertoire ,,l seventeen characters, including a blit7.ed-out junkie and a brainless Vallev girl. It look her from the Comedy Store in Hollywood to Broadway u , starring in movies.

Good reason—I want to express myself and connect with others. Bad reason—I want to get discovered and get my own TV show. Of course, most performers would love to be famous stars with a Jacuzzi in their dressing rooms and personal masseuses on stalf. I lowever, if career advancement is your sole motivation lor creating a one-person show, your cousin Harold, the one who ties cherries with his tongue, has a better chance of hitting the big time than you do. At least that is entertainment. Ego productions are a bore. There is only one reason to do a one-person show—you have a burning desire to tell a particular story. And that story can be anything from a repertoire of different characters to a story that brings tears to people's eyes. In fact, most one-person shows are based on quite significant and serious themes. Julia Sweeney's And God Said, "Ha!" was a comedy based on the true story of both her brother and herself getting cancer at the same time, and her whole family moving into her two-bedroom apartment. Her show sold out in L.A., went on to a Broadway run, was published as a book, was released as a movie by Miramax, and was rereleased as a rental video. Rich Shydner's one-man show True Love Confessions was the story of his marriage and included insightful observations about relationships. "I think being in love means that 90 percent of the time you look at the other person and think to yourself, 'I want to spend the rest of my life with you,' But 10 percent of the time you may think, 'How can I fake my death?'"

PRO TALK with Rich Shydner

"The show is much more personal than my act was. In stand-up, every other word is you, and everybody relates to your act based on how good your iw< is. With this [one-person show], I get down to the essentials and tell my story."

PRO TALK with Whoopi Goldberg

"] did my [one-person] show because I wanted to make people laugh and think."

In Rick Reynolds's one-person show Only the Truth Is Funny, he starts out by saying, "I won't lie to you once tonight, not once." Reynolds found his highly successful one-person show from "throwing out all my comedy routines and writing the truth." His show is about his family from hell—a manic-depressive mom who brought home a succession of men with whom she had screaming fights; a stepfather who whacked the back of Rick's hand with a steak knife during dinner and made him sit at the table bleeding and crying; and another stepfather, who robbed banks and who. after he was caught, sent Rick ski masks he had crocheted in prison. Reynolds's one-person show led to high-powered managers, a Showtime cable special, and finally a deal with NBC. He also appeared on The Tonight Show and Letterman and was written up in People magazine. Telling the truth (in a funny way) can bring rewards. Chris Titus was a Star Search winner and a comedy club headliner who spent seven years on the road going nowhere. Then he wrote his oneperson show Norman Rockwell Ls Bleeding, about his mother stabbing his stepfather and attempting suicide, and his father's alcoholism and abuse. ' he result—his own network prime-time sitcom, Titus.

PRO TALK with Christopher Titus

"A one-person show is not just an hour of stand-up. It has to be dramatic and funny. I tossed my stand-up aci and wrote forty minutes about my life—real stuff, scary stuff, true stuff, but always funny. 1 worked on my one-person show for two years. We did it in a theater. My wife produced it, my niece did the lights." Bruce Smith, Titus's agent, says, "Chris's one-person show was the only way to demonstrate to the industry that his story was irrefutably funny to a crowd and not scary. A one-person show doesn't have to be laugh after laugh after laugh, but it always has to be interesting and entertaining."

One of the most successful one-person shows is Rob Becker's Defending the Caveman, which took Becker from comedy clubs to a Broadway hit One night he got onstage in his stand-up act and said he was tired of all the politically correct male bashing. "I don't think we arc bad, we're only different.'' And the caveman was born.

PRO TALK with Rob Becker

"It's strange. The idea for this show simply (lashed in my mind. But I knew then I wanted to do a show about relationships, something that had a beginning, a middle, and an end. That's when I knew I needed ninety minutes."

'Who should do a one-person show?' Answer these questions: • •

Do you prefer telling stories rather than jokes? Can you repeat a story and make it sound as fresh and spontaneous the tenth time as you did the first?

j Can you aci? • Do you find it stifling to have to make people constantly laugh? Q Do you have a burning desire 10 tell a particular story? Then this might be for you. A word of caution—doing a one-person show is not for novices. If it's mething you want to do, you have to work up to it. When it's done well, it appears as if the performer is simply talking about themselves or portraying a character from their life. If it really was that easy, we'd all guit therapy and rent a theater. A one-person show is not just about sharing stories from your "oh-so-interesting" life. It's finding the themes in voui life that are universal, the ones that overlap with other people's themes, and making them really funny. It's for experienced writers and performers, not for people starting out. You can't do a one-person show bv the book—it's an extremely personal artistic experience. To do it well, wju often break the rules—but you have to really know the rules and h;i\ e played by them many times before you can successfully break them.

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'o-w to Vut together Your O w n Cne-Per$on $ h o w

The process of developing a one-person show is the same as creating newstand-up material. Don't start "funny"; start "deep." It's hard not to imagine the audience sitting stone-faced and silent while you explore serious topics, bui thinking of them 100 soon can choke your creativity.

Exercise: Starting the Process—Picking a Story Make a list of the turning points in your life—all the "aha!" moments and meaningful events. Go back to the "Stepping-Stones of Life" exercise on page 210 for help. Start with a life-changing event rather than a funny one, because it's a lot easier to make a dramatic story funny than to make something that's funny dramatic. Not sure if a particular event was really meaningful? Write it down anyway. Sometimes it's only by exploring the seemingly inconsequential details of our lives that we realize just how momentous thev were.

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Don't worry about how the event vou are writing about will fit with any other event vou want to explore. If you are called to write the story, then write it. Worrying about "How does this fit with that?" jusi gels in the way of i he process. • Don't get distracted by wondering how you are going to perform the event, like, "I have a wedding scene with thirty characters. How will I do it?" 1 have yet to find a scene that can't be shaped so that it can be done by one person. _j Don't write in past tense, such as, "I was standing on the street corner and 1 saw this woman." It should be, "I'm standing on this street corner and I see this woman." When you write in the present tense, your whole emotional system shifts to the inside of the story. If you work in the past tense, not only do you distance yourself from the material, but you distance the audience from it as well.

PRO TAIK with Tim Baglty, winner of Aspen '99 Best One-Person Slum- for Happy Hour "After winning the Aspen award for my show about a best friend's death, I got the idea for my second show when 1 was reading a book about the Playboy mansion. One of the Playboy bunnies said, 'There were butlers all around and we did everything in front of them, but it was like they weren't really even there.' And I remember lying there in bed and reading that and thinking, 'Guess what, 1 was there and I saw . . . ' And in my mind, I thought, 'You know, I've got a show'—telling stories about my experiences as a butler at the Playboy mansion. Clean Boy/Dirty Stories." Two

In Tim Baglcy's award-winning one-person show Happy Hour he plaved several cocktail-guzzling members of his dysfunctional family at a familv reunion. The show was based on a painful event—a friend's death. "While I was writing it, I didn't have an outline. I didn't have any form. I was just kind of writing and trusting that at some point I would be able to piece it together."

BagJeV

Exploring Your Events Pick one of your key events and write out die details. Don't worry about your spelling or grammar or if you change direct ions and flow into another event that isn't even connected. Let your writing be as messy, disorganized, and disjointed as it needs to be. We all want our writing to come out perfectly the first time—write it on Monday and perform it on Friday. That may be possible with short stand-up pieces, but when creating a one-person show, probably everything you write dining the firsl two months will never make it onstage—it's exploratory material.

PRO TAIK with Tim Bagley

"I just started writing about the death of my friend- -writing like a crazy person, sleeping during the day ind writing at night. At that time, I didn't know what the theme was or h ow it all connected.

PRO TALK with Irene Penn, manager and director (Lily Tomlin, Reno, Kathy and Mo, Sandra Bemhard, Sherry Glascr)

Detail Your Story

"Write from your gut, because if it doesn't move you, it's not going to move anyone else. Most of us go through very similar things, or we know people who have gone through similar things, and even if your show is deeply personal, you have to find a way to connect to the audience."

fne storv you've written so far is a starting point. Now expand it by focusing in on the details. For instance, in Julia Sweeney's show about getting cancer at the same time as her brother, the details for the day she found out she had cancer would include the trip to the doctor's office, what she wore that day, what the doctor's waiting room looked like, what his office looked like, the way the nurses behaved, what diplomas were on ^' s waifs, what the doctor wore, whether his nails were clean.

I lere are some tips by renowned Los Angeles one-person coach am director Mark Travis,

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At one point in Happy I lour, Bagley goes into great detail about his attempt to organize his dysfunctional clan for a family photograph. H e acts out each member of his family—directing his befuddled dad to stand next to a chair is harder than getting a hyper poodle to stop yapping. Waking up his Bible-thumping brother-in-law from a nap almost leads to a physical confrontation. Tim's streetwise brother agrees to pose, but only if Tim agrees to listen to the obscene song he wrote. Most of the "funny" is in the details.

put each character on an index card—list their mannerisms, idiosyncrasies, and behavioral quirks—then practice them by acting them out. Act out all the people in each scene. Tim Bagley: "I wrote two or three different monologues for each character in my story, and ended up using the one that I felt moved the story along."

Back Story

Finding the Show

You've written about a significant event in your life. Now write about the events that led to that experience, so that we know why this event is so significant. What background information should we know- about the people in your story to better understand their behavior in the event? Tim Bagley:

There are two aspects of your show that you need to find: (1) the story

I really try to get into what makes people behave die way they do and not some other way. You have to go deep into the characters; otherwise they come off one-dimensional. My brother talks nonstop. He'll talk about everything—his new barbecue grill or working out at the gym— except his wile dying and the pain that he's experiencing. So, when I'm in his character and chattering, I want to make sure that the audience sees what is at the root of his behavior—that he is hiding behind all die chatter.

Detail the Characters A character's essence—the qualities that make him or her a unique individual—is shown in the details. Explore the different ways your characters express their true natures by noticing all the tiny behaviors ami choices that reveal various aspects of their personalities. For instance, if your mother conies into the room in your story, notice every detail about her. I low does she enter the room? Hesitantly? Shyly? Drunkenly? What is she wearing? W h a t does she smell like? W h o or what does she search out first? Second? What does she say? How does she stand when she talks? What does she do with her hands? In stand-up, you superficially sketch characters in the act-outs, but in a one-person show you will need to do finely detailed portraits of your characters so they come across a three-dimensional.

Exercise: Character Act-outs

and (2) the theme.

Exercise: The Story By now you might have a ton of pages of material about your event that shoot off in many different tangents. To help you find the through line, reduce vour material to bullet points—the events that move your story along. Write each bullet point on a separate index card. For instance, for Tim Bagley's Happy Hour he wrote down on different cards: "Brother sings a song." "Mom's drunken confession." "Dad giving clues." Consider each index card as a scene, and detail each scene by answering: 1- What characters are in the scene? 2. What is the location of die scene? 3. What happens in the scene? Organize all your index cards into an order that tells your story. Then get up on your feet and rehearse your story, using the index cards. As you practice acting out the story, you will find that certain scenes feel out of place. Trust vour gut feelings and keep rearranging your cards until you feel that the whole thing flows.

Finding the Theme So far vou've picked an event, written all you can about it, examined and explored every detail of it, found the characters, itemized all the details about each one, and arranged the scenes in an order. You might have a

very interesting story, and a couple of hours of good material, but it is not a show—yet. You need to know the theme of your show. A theme is a universal message, a point of view or a premise that permeates every aspect of the story. All the characters and events represent some facet of the theme. Some performers know their theme right from the beginning. Others spend years finding it. Rob Becker did years of research, reading books and articles and talking with marriage and family experts, before coming up with his theme for Defending the Caveman: "We are not far removed from our prehistoric roles. Men remain hunters, women gatherers, and there will always be friction unless the two honor their differences and explore each other's 'worlds' without judgment." And that was his show. Sometimes it's extremely difficult for the writer/performer to figure out what the theme of the show is. As director Mark Travis says, "You will be the last one to know where or what it is because you are the main character, and as the main character, you are not sufficiently removed from what's going on to know the true theme of your story."

rial? (It's usually something much more profound than just the events of the story itself.) Getting Perspective To find out what your show is really about, you'll probably need to get a little distance from it. Put it away for a few weeks. When you come back to it. read it as if someone else wrote it and look for the theme. Even better, enlist the help of a director or a coach to help you to fine-tune the theme and the structure.

Tips on Structure •

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Tim Baglcy found the theme of Happy Hour in a moment of insight: Once I wrote everybody, I saw that, without realizing it, I had revealed how my siblings and my parents each have their own unique way of hiding. And then I thought, "I haven't written about how I hide because I've been hiding my friend's death from my family." And then it came to me—that's my theme. My friend's death brings truth into my menagerie of denial. I knew that I had to do a monologue thai explains all that I have hidden, and that was my show.

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Exercise: Finding the Theme Learn about themes by examining the structure of a variety of movies, plays, and one-person shows. Answer these questions: 1. What is the plot of the story (in just a few sentences)? 2. What is the story really about? 3. Tell the through line of the story, using the main character. For example. Cone With the Wind is about Scarlett O'Hara, who through her stubborn optimism survives great tragedy. "Tomorrow is another day . . ." 4. I low does the main character change during the course of the story? 5. Why is the story interesting to you? 6. What conflict or idea resonates through the story and drives this mate-

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The audience should always wonder, "What's going to happen?" That means that every element of the story should build up to the end. which contains some sort of revealing information. Hook the audience in the first five minutes by giving them a sense of what the story is about. Keep the show in present tense. Don't describe your characters, act them out. Pick a storv that is emotionally meaningful to you because you are going to be telling it over and over again (if it's successful). If you're telling this storv only to "be funny" or because you hope it will land you a job, you won't make it. Think of your one-person show as a play where you play all the characters. (let a director, coach, or comedy buddy to work on the show with you. Another option—work on vour piece in a class. You need a fresh, emotionally detached pair of eyes to look at it and tell you how much of what is in your head is actually coming out onstage. Many universities have adult extension classes in the arts. See my Web site for one-person show coaches. Don't sermonize and tell the audience what the theme is and how they should respond. Your place is inside the story—reacting to what's going on as it's happening at that moment. Let the audience make their own judgment at the end as to what it's about and how they feel about you. Director Mark Travis sums it up by saying, "Your approach should be, 'I'm going to lake you on an extraordinary journev. 1 went on it and I'm going to go on it with you.' " Know what the theme of your show is. it might be based on your life, but

Is Bleeding included in his press release that he watched his mother kill his stepfather. This was intriguing enough 10 gel out a lot of the press and industry people.

it has to say something about nil human beings in order (o touch the audience, Jusi as with stand-up, it has to be rdatable.

Doing a one-person show is an act of passion and love—but it might make you a cent, even if it's really good. If you break even doing a one-person show, consider yourself extremely lucky. n ot

Unlike a TV show or a film, a one-person show can be a work, in progress for years. There's only so much you can learn about your show from writing it. You'll learn a lot more from performing it in a workshop and getting feedback. It can take years of performing, getting input, rewriting, reworking, and then performing it again to get it to the point where you can invite the public to your show. Tips on producing your show: •

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Don't spend a lot of money on mounting your show. No matter how good or ready you think it is, chances are it still needs work. Most oneperson shows don't depend on sets, props, or costumes for success. The story is the star. Find a space where you can invite ten to twenty people to watch. Churches, temples, schools, and even some community centers have small theaters that they rent out for a minimal fee. Hold a discussion afterward so people can give feedback. Occasionally someone will say something that will help you make the production better. It's hard not to defend yourself when people give negative comments, but the best thing to do is just write down what they say. Then trust your instincts, use what you can, and toss the rest away.

Here are some tips from Leigh Fortier, a Los Angeles award-winning theater producer, on how to produce a one-person show in Los Angeles (or another big city). •

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Hire a good director who specializes in doing the kind of show you wani to do. Get the best person vou can possibly afford—this is not an area to cut corners. Look at other projects they've developed and directed before making a decision. Do two or three performances for a select group of friends before inviting the public. Don't invite the press until the show is as good as you can possibly make it—all the rough spots polished and all the kinks worked out. Create a provocative press release. Target it to the newspaper and magazine arts editors who specialize in theater. Chris Titus in Norman llockm'U

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It's a nesting place for stories that don't til into your act. It's a good outlet for character coined). It gives you a chance to be part of a team rather than always working alone. 9. It's a great way to network to get more stand-up jobs. Garry Shandling, ferry Seinfeld, Gonan O'Brien, and David Letterman all worked as writers on TV 10. Free doughnuts.

•i? ook at the staff of any TV sitcom and you will find writers who •Upstarted as stand-up comics or who have had at least one open-mike experience. As I said before, performing comedy is key to writing comedy, in order to get a hands-on sense of all the elements of a joke—timing, altitude, and delivery. If you just want to be a stand-up and enjoy working the road, then skip this chapter and become the best stand-up you can be. Write jokes every day and find a place to perform every night. However, there are many stand-ups who do both—they work on a sitcom staff during the TV season and off-season they are on the road.

1. It's a way to get an agent or a manager. When presenting yourseli to an agent, it's a plus to have things for them to sell other than just being a performer. 2. Greed. Generally writers make more money than stand-up comics, and it you are on staff, you get a steady paycheck and it's a big one. 3. If you write a good spec script, it can lead to a writing assignment. 4. You don't have to travel. Although fun at first, the road can be wearing 5. It's an outlet for creative ideas that don't lend themselves to the stand-up format.

Practically everyone who has ever produced or written on a sitcom started by writing many spec, or sample, scripts. Spec is short for speculation or speculative. A spec script is usually an episode of an existing TV show that you write for no pav, because you're speculating that it will get you a job. Spec scripts—don't try to get a job without one. And it's not just neophyte writers who write spec scripts. After being co-executive producer for Everybody Loves Raymond, Cindy Chupack still had to submit relevant fresh material when she was up for IIBO's Sex in the City. "How much do spec scripts sell for?" You have a better chance of winning the tristate lottery than you have of selling your spec scripts. Even if it's the funniest, most brilliant script ever, it might get you a writing assignment or a staff position, but producers rarely buy a spec script. It's strictly a way to get your talent noticed. My life would make a good sitcom. Wouldn't it be a good idea to "rite an original sitcom based on my wacky life?" A lot of beginning comics write original sitcom scripts, hoping to star Hi them. These scripts are called pilots—original shows. As they get more sophisticated about the business, they realize that pilots are developed with extremely successful producers or stars and packaged by powerful "gencies. Even if you write a really terrific pilot, unless you are a star, it is I er >' unlikely that anyone will spend a million dollars producing your sit-

com with you in it. And an original script won't gel you a job writing Qn current sitcoms unless you have some spec scripts as well. There is really no way around it—if you want to get a job writing sitcoms, you have to have written some spec scripts. Writing sitcoms is not so different from writing jokes. A joke has an attitude, topic, premise, act-out, and mix. Sitcoms incorporate the same elements. Attitude. Each character has a specific attitude. The way they react to one another creates your story Topic. Each episode of a sitcom is usually about one or two topics Like a stand-up topic, it's something very ordinary rather than unique or weird. Just like stand-up, it's not the topic that makes your work unique, it's what you do with the topic. Premise. This is the log line, the one-sentence synopsis of the story. It is usually structured like this: When something happens to the hero, he tries something and gets into more trouble. For example: (Seinfeld) When the Internal Revenue Service seeks to audit Jerry, George arranges for his girlfriend, who once worked for the Internal Revenue Service, to help Jerry out. (Frasier) When Frasier falls for an attractive traffic cop, it turns out that she would rather date Martin. Act-out is dialogue. Mix creates the situation when you bring in an element that will create conflict with the characters. (Ellen) When Ellen meets an openly gay woman, it makes her confront her own sexuality.

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faulty design will collapse. If you rush ahead and start writing your Script without doing the necessary prep work, you will probably end up with a script that doesn't work.

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"Should I write with someone?" If you have a comedy buddy that you work well with, yon might want to write a spec script together. There are advantages to writing with someone. Besides having someone to bounce ideas off, a lot of sitcoms hire writing teams. The downside is that you will have to split your salary and f you will not be able to get a job as a solo writer with a jointly written spec script. But hey, half a salary is still going to be more than working at f Sizzler.

PRO TALK with Cindy Cliupack, producer/writer

"Pick a partner who has complimentary skills to you. My partner was much better at structure than I was when we first started out. I learned from her and our whole product became better than what we could have done individually."

The first step is picking the sitcom you are going to write. Watch TV sitcoms intensively for two weeks. Then answer these questions: PRO TALK with Abraham Lincoln, president of the United States

"If I had eight hours to cut down a tree, I'd spend six hours sharpening my axe."

Before you begin the actual writing of your spec script, there is a lot of prep work to do. This can take anywhere from a few weeks to several months. Don't rush this prep work. Be thorough. When you build a house, most of the time is spent on the plans, because a house built wit' 1

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Which show makes you laugh? Don't bother picking a show just because it's popular. You have to find it funny or you will get bored trying to write it. 2. Does the show have a character on it who has your voice? Is there someone like you on the show? If you have a day job as a secretary, you might want to pick a show that lakes place in an office environment. Maybe a character on the show has a relationship similar to one you have. For instance, a show might center around the relationship of two brothers that resembles your relationship with your brother. 3. Does the show have legs? In other words, is this show going to be around

for a while? You can't use a spec script for a show that is off the air. So unless you want to keep writing new spec scripts every few weeks, pick one that's doing well enough in the ratings to be picked up for a few more seasons. 4.

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Is this show well liked and well respected by the industry? It's hard enough to gel someone to read any spec script, let alone a script for a show they hate- And no matter how good your script is. if the show itself is thought to be bad writing, your script will suffer from guilt by association. Some shows don't get high ratings but are noted as well-written, hot shows. It doesn't matter if the show is a cable show, as long as it's generally regarded as a high-quality show.

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Is this show too popular? If it is, you'll be one of a million writers doing spec scripts on it. Under these conditions, it's harder to come up with a story idea that's not already done, and harder to stand out and be compared to everyone else.

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Go on the Interne! and search for places that sell sitcom studio scripts, such as http:HmmJ10Bynoodbo0tety.com. Make sure that you are getting original studio scripts that have the original formatting, rather than scripts that have been transcribed. If you can't buy a copy of the sitcom you want to write, call the show directly. Many shows do sell scripts. If there is an episode you really liked, send a note to the writer (in care of the show). Tell them you are a beginning writer and are a great fan of their work. Ask them if they would please autograph a copy of their script for you. Most writers will be thrilled to have a fan. Be sure to send a selfaddressed, stamped envelope with your note, but don't harass them. Rack your brains for a connection to someone who works on a show7. You might figure out that your cousin Sally used to date this guy Fred who lives next door to Barney, the script assistaitl on your favorite show. Call him.

"My dream job would be getting a staff job on Friends. Should I write a Friends spec script?" Writers rarely get hired on the show for which they did a spec script. Most producers won't even read a spec script for their show. In addition to the fact that they know the characters and the show better than you ever possibly could, they don't want to read something similar to something in development and get sued. The best way to be considered for a writing job on Friends is to submit a killer spec script of another sitcom that has a similar tone. My spec script is for

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This is the hardest part of the spec script section. You're going to have to find someone who can got you a script, and even harder, program your VCR to (ape your show. A H H I I H H ! Once you have picked your show, you'll need to get your paws on at least three scripts of the show and videotape at least six different episodes.

Each TV sitcom has its own structure, and you need to know what it is. The person reading your script needs to know that you can nail a character's voice, the tone of the show, and even the way it's laid out on the page. Each sitcom has its own quirks, and you need to know them inside out. Your script could be brilliant but no one will even know because they won't read past the first page if it's not formatted properly.

Exercise: Breaking Down the Sitcom Structure Ellen Sandler, who was co-executive producer of the hit show Everybody Loves Raymond as well as having staff positions on many other sitcoms, offers advice on dissecting a show's structure. You have to get at least three scripts of a series to figure out the show's basic structure. From watching the show, answer these questions: • • • •

"How do I get my paws on a sitcom script?" •

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How many scenes are in the show-? How many times does the lead actor appear? I low many jokes are on a page? What are the main locations, and how many times are the characters in each one? How many scenes is each character in?

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How many pages is each scene? What is the style of the show—jokey, physical humor, irreverent? Is there a B-story (a subplot that's not the main focus of the show but si ill important)? Is there more than one B-story? I low many pages are devoted to the B-stories? What is the relationship between the A-story and the B-story? Are thev connected by a similar theme, as in IIBO's Sex in the City? Does the B-story counterpoint the A-story? Do all the stories dovetail at the end' Or is there no connection between the stories?

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Is there a pattern in the dialogue? Does one character always have the final say? Is one character's humor physical? Who is the viewing audience? How racy does the dialogue get? Are there guest or recurring characters? How many in an episode? How many pages do they take up? Does the sitcom happen in two, or three, acts? Where are the act breaks? Where do the commercials come in? Can you find any other consistencies between the three episodes?

Do not skip any of the above questions, because these answers will become your template for writing an original episode. Wrong answers or incomplete information will lead to script problems later on. If you don't know an answer, reread or review the show until you do. Exercise: Sitcom Structure In order to truly understand the structure of the sitcom you selected, as you watch the six episodes you taped, write out what happens in each scene and where it happens. Later, when you write the spec script, you will use these notes as a road map to understand the structure of your show. For example, an episode in Everybody Loves Raymond might look like this:

Ray. Debra gets angry at Ray for being so closed-minded and feels

thai Ray's family would not be very sympathetic or supportive if Robert were gay.

Sitcom structure is very simple, according to Bill Idelson (Get Smart, Andy Griffith, Vie Odd Couple, Happy Days, M*A*S*H, author of Writing for

'. Dough). All stories have these elements: a hero, the hero's goal, and the obstacle to the hero obtaining that goal. Someone wants something and there is something stopping him. Look at lack and the Beanstalk. Jack (the hero) wants to help his poor mother (goal). He gets magic beans and climbs the beanstalk to the riches at the end, but there is a giant (obstacle).

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klelson is right. As basic as the structure of that old tale is, it is no different from that of modern-day sitcoms. A sitcom story is usually broken down into six beats: 1. Setup—there is a problem in paradise. 2. Complicates and escalates—the problem gets bigger. 3. Twist (act break)—things don't go the way the characters thought they would. 4. The characters plan what to do about what just happened. 5. The conflict gets bigger as they execute the plan—this is the big physical or emotional comedy scene. 6. The situation gets resolved—all the loose ends of the story are wrapped up, and usually the main character has a heartfelt moment and learns some kind of lesson about life. Here is an example from an Everybody Lores Raymond episode broken

Scene 1—INT. [interior] Ray and Debra's kitchen Amy is crying to Dcbra that she and Robert broke up again. She realizes that in the past she has been attracted to gay men and wonders if Robert might be gay. Scene 2—[NT. Ray and Debra's bedroom—night Debra asks Ray if he thinks his brother Robert might he gav. This annoys

down into the six story beats: 1. Setup—Amy breaks up with Robert, and both Debra and Amy consider if Robert is gay 2. Complicates—Debra is pissed at Ray for being closed-minded about the possibility of his brother being gay.

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Twist (act break)—Ray wondering if Debra is right about his family being closed-minded about the gay issue, asks his parents how they would react if someone in the family were gay. Ray's parents think that he's telling litem thai Robert is gay—his father is horrified and his mother is surprisingly line. When Robert comes in, his mother tells him that it's "OK to be gay." Commercial.

4. The plan—The family tries to accept that Robert is gay 5. The conflict escalates—Robert is confused; if his whole family thinks he's gay, maybe he is, Ray comes over to apologize for starling this mess and starts to wonder if he also is gay Then their father comes over angry from a fight with his wife and says, "Women. Who needs 'em?" Now Ray and Robert think that Frank might be gay. Commercial. 6.

(family Guy) When the trophy turns up missing that Peter and his neighbors won in the annual 1 larvcst Festival Parade, the winners all suspect one another of stealing it.

Exercise: Log Line Write out the log line from an episode of the sitcom you are researching. Log line:

Resolve—Robert forgives Raymond for starting ihe mess. Ray makes peace with Debra by staying home with her and her friends rather than going out with the guys. He realizes that he's straight—but miserable.

The goal of the main character, Rav, is to make Debra happy by showing that he and his family are not homophobic. The obstacles are his father's homophobia and his own homophobia. Now write out the six beats of an episode of a sitcom according to the above template, then answer these questions: • • • • •

(Sex in (he City) When Carrie runs into Mr Big's seemingly perfect Natasha, she wonders: Are there women in New York City who live for the sole purpose of making other women feel bad about themselves?

What happens in each step? How many pages is each step? Where are the commercial breaks? What is the goal of the main character? What are the obstacles?

Examine your sample scripts for their formatting. Each sitcom has different formatting. Some have long character descriptions, some none. Some have huge margins, some small. Some have parenthetical descriptions for the actors, such as "crying loudly" or "shouting," and some sitcoms hate them. You need to know the preferences of the sitcom you're writing for. Even if the producers of that show never read your script, the producers of other shows will know that show's format and it will make your script look more professional.

Log Line Look at the scene breakdown of the sitcom you are researching and write out the basic log line of the story in this format: "When something happens to the hero, he tries something and gets into more trouble." The log line for the above story would be: (Everybody Loves Raymond) When Robert and Amy hreak up again the family starts to wonder if he might be gay Log lines can be found in TV Guide or on the show's Internet sites.

PRO TALK with Ellen Sandler

"Don't underestimate the importance of the page layout. When I have a huge stack of scripts to read, I'm looking for any reason to get out of reading them. So if a script isn't in the right form, or if a character's name is misspelled. I think. This writer is not up to speed,' and I don't read it. A good agent will never send out a script that is not formatted properly."

Although each show has a slightly different format, here's the template for t h e s t a n d a r d format. T h i s is excerpted from Tony Pelzer's W e b site www.siteom-net.com.

Scripts begin with the title centered, capitalized, and underlined at the top of the page. Then the act number and scene letter follow below underlined. All scripts start with a left justified "FADE IN:" and end with a right justified "FADE OUT." The font is usually Courier, 12 point. Each scene begins with a slugline that includes where and when the scene takes place. There are at least three parts to this slugline: whether the scene occurs indoors ("INT.") or outdoors ("EXT"), the location of the scene, and when it happens.

Everything is capitalized except the dialogue; this includes set descriptions and the character's actions.

When writing dialogue, the character's name is centered at approximately 3.5" from the left. Dialogue is centered under the character's name at approximately 2.5". You must leave 3-4 inches on the right margin so the director can mark notes. If a character is going to continue speaking on die next page, then a centered "(MORE)" needs to be added at the bottom and a "(CONT'D)" needs to be added after the character's name on the following page.

NORM (CONT'D) N o r m continues speaking. Each scene or act begins on a new page and pages are numbered in the upper right. New scenes are capitalized and underlined along with camera directions. Set up your c o m p u t e r for sitcom writing. If y o u use Microsoft W o r d , you can d o w n l o a d (for free) from my W e b site sitcom writing t e m p l a t e s with c o m p l e t e directions on how to use t h e m . Go to www.comedyworkshopS.com for this d o w n l o a d . There arc also software programs lor w r i t i n g sitcoms a n d screenplays, but they are expensive a n d you can do t h e s a m e thing w i t h o r d i n a r y word processing programs by creating a sitcom t e m Action is ALL typed in CAPITALS and is single spaced and enclosed in parentheses. Double spacing makes the script longer because it adds lots of white space so figure each page is approximately 30 seconds.

plate. If y o u d o n ' t have a c o m p u t e r , d o n ' t fret. E m m y award—winner D a v i d E- Kelley writes on a legal pad a n d s o m e o n e else types it u p . T h e r e are

many services that will convert your chicken scratch into a formal sitcom script. Go to our Web site for recommendations for this service as well as professional scriptwriting software.

When you go on a trip, the first decision you make is where you want to end up, and usually it's the same when you start to write something. Sometimes completing a script can seem like an overwhelming undertaking. That's why many anxious writers find that it's psychologically helpful to have a "pretend" finished project as a reminder that writing a sitcom is not brain surgery, it's about filling in forty-live pages. So, gather forty-six blank sheets of paper and create your title page on the top sheet. It should look something like this:

Just as expectant parents furnish the nursery before the baby is born, you need to prepare a nurturing environment for your spec script project too. That means setting up both a place and a time to write. My favorite time to write is in the morning, and my favorite place is in bed on my laptop. 1 have to write first thing in the morning; otherwise, if I check mv e-mail, go on the Internet, or return calls, 1 never get to the writing. The time and place for you to write might be different from mine. I know of some writers who get up at 3 A.M. to write and then go back to sleep. Some writers need quiet and some prefer writing in the middle of hotel lobbies, k doesn't matter where or when you write, but what does matter is your commitment to it—every day until you are finished. Make that commitment now. I commit to writing the sitcom until all forty-five pages are done. I will write every day at

The place I prefer writing is

.

The real world operates on deadlines and so should you. If you were diligent doing the prep work, by following the instructions in the following section you will have a finished script nineteen days from now. Write that date down here. It's your deadline. Date:

You probably won't know your episode title until you're done, so for now just put a temporary title on it. You may register your script with the Writers Guild online (www.awg.com.au or www.nzwritcrsguild.org.nz) to protect yourself from illegal use. Punch three holes, fasten the page together with brads (paper fasteners), and put this pretend script on your desk, by your bed, or wherever you can see it every day as a reminder that it's just about filling in forty-five pages.

Action Checklist -1 ^ 0 '-I Q Q 3

picked a show watched and outlined six episodes read at least three scripts of the show outlined each episode of the show set up my computer to conform to the formatting of the show committed to a finish date committed to a time and place to write

Common Mistake: Writing Too Soon STOP! Don't go further until you have fully completed the prep work in this section. Otherwise, you're wasting time and paper. Save a tree bv taking the time to do the prep work before starting to write your spec script When you are finished, the next section will guide you through nineteen days of writing your sitcom episode.

Sitcom writing utilizes many of the same principles as writing stand-up. When writing stand-up, you started with an authentic, relatable topic. When writing sitcoms, you start with an authentic, relatable situation.

PRO TALK with Emily Levine, producer/writer

"Build your story first and get your humor out of that rather than try to build a story out of different little things you dunk are funny."

Finding Your Situation Good sitcom scripts are little morality plays. They aren't just a collection of jokes but rather tell a story where the main character learns something and is transformed in some small way. When creating a story, lure are some things to avoid.

4. Don't make your story weird. Even with all their moments of exaggeration, sitcoms are pretty realistic. In the classic All in the Family, all the stories centered on the family members talking to one another and neighbors coming over—in other words, typical family life. There was never an episode where aliens landed and one-eyed creatures came over. Even if the show is based on an alien family, such as Third Rock from the Sun, the story lines involve relatively normal, mundane matters. 5. Don't force the characters into your story. Just because you have a great story that "really happened to you" doesn't mean that it should happen to the characters in the sitcom. Events should appear to happen because of the characters' personalities not because of the writer's imagination. 6. Don't have a character say anything that is out of character. Study the sitcom until you hum their voices. 7. Don't create a story that has been done before. Go to the show's site on the Internet because most major shows have synopses of all episodes. 8. Don't add a lot of guest characters. Even better, don't have any, if possible, or if you do, make them characters with recurring roles. Keep the story focused on the main and secondary characters and show how much you can do with them. 9. Don't use gimmicks to create a story, such as one in which someone wins the lottery or goes on a game show. The story should be generated by the characters and not by an external event. 10. Even if your show occasionally adds new locations, stick to the usual sets.

6etting Your Story Started

PRO TALK with John Truby, Truby's writers studio, stoiy coach

Ten No-No's of Sitcom Stories 1. Don't make the characters go through big changes. If the show is Fresh Prince of Bel Air, you don't want to write a script where they decide to move to Las Vegas. Or, "Frasier has a terminal illness." Not a good idea to knock off the lead character. 2. Don't give any main characters some back story that we haven't heard about, such as, "Ross and Monica in Friends find out they have a half sister. 3. Don't do anything different from what you learned by dissecting the show For instance, if the show always takes place in the bedroom and the living room, don't put a sex store scene in your script. Keep to the format.

"The biggest mistake writers make when trying to break into sitcoms is to think they must have as many jokes in the script as possible. Not only does this belief keep many writers from even trying the form, it guarantees that even funny people will fail as sitcom writers. Rule numIber one about writing sitcoms: Sitcoms are not jokes. They are story."

You might already have some ideas for your story, and that's great. Sitcom ideas are similar to stand-up mixes—you mix in a situation that is Uncomfortable for the lead character. Your main character has personality

It's the people who have a mom and S dad and a white picket fence— those people are the freaks.

flaws. Put that character into a situation lhat will trigger his or her flaws. For instance, in Everybody Loves Raymond, Raymond's character flaw is that he feels responsible for the happiness of his entire family. Good situations would be ones where the solution for one family member's problem would cause another one's misery. On Seinfeld, George's character flaw is that he has an unrealistic sense of entitlement. So a situation thai could flow out of that would be when George tries to go out with women who are out ol his league.

Some stand-up premises that could work as sitcom story lines: (From a student) It's hard being a black woman in corporate America because you use a different personality with your boss than the one you use with vour ghetto friends. (From my net) It's weird falling in love on a vacation. When you have an affair on a vacation, don't mistake it for a real relationship, hecause your lover has on their "vacation personality" You are not in a relationship, you arc in a vacationship.

Exercise: Character Flaws What are your lead character's flaws?

Exercise: Picking Premises In general terms, what situation would trigger his or her flaw?

Write down three of the strongest premises of your act that could also be an opinion of one of the lead characters in the sitcom you picked. J. 2.

Don't go with your first and only idea. Create a list of many ideas, both A-stories and B-stories. Need some help coming up with story ideas? •

Start with a premise.

• •

Start with a story about something that happened to you. Start with a current-event topic.

Read on for the specifics . . . Turning Stand-up Premises into Sitcom Stories Stand-up premises often translate nicely into sitcom themes. Again, think in terms of insights rather than thinking funny. The entire premise of Christopher Titus's sitcom, Titus, was taken from his act. Sixty-three percent ol American families are now considered dysfunctional. That means that we're now the majority. We're the normal ones.

I

3.

Now write out how these premises could translate into sitcom plots. For example, my stand-up premise of "vacationships" in the example above could translate into a situation on the family sitcom Everybody Loves Raymond. Ihe basic situation of that show is that Ray and his wife live across the street from his parents, so he is always caught between trying to please his parents and trying to keep his wife happy. Using my premise, the log line might be: "Wlien Ray and his wife invite over a madly-in-love couple they met on vacation, it makes them question their own relationship." Taking this premise to the next level, perhaps watching the love-crazed couple gets Ray's wife to thinking that he is more attentive to his parents than to her. So Ray decides to make his wife happy by being more romantic (goal). The obstacles to this could be (a) his mother has the flu and needs him to take care of her and (b) the difference between what men and women consider to be romantic.

1. Write out the story that your premise could inspire. 2. What is the goal of the main character and the obstacles in your Story? 3. What is the log line of this story? (A log line is a one- or two-sentence description of a story, similar to (he episode descriptions you see in 7'V Guide.) 1.

_

a

Forgetting a dale's name trying to get a promotion trying to get rid of a bad smell in a car

PRO TALK with Carol Leifer, writer/'producer on Seinfeld

"At the beginning of the season the writers pitched story ideas to Larry David [executive producer] and Jerry—and a lot of them were things that happened to us. I wrote an episode called 'The Beard.' It was where Elaine is a beard for a gay guy. That was inspired by a real event. 1 actually went on a date with a gay friend of mine who is closeted and asked me to go to the Hollywood Bowl with him and his boss. In real life we didn't pretend that I was his wife, but you take poetic license when writing a sitcom—you amp it up in other ways. In the script Elaine and the guy were all over each other."

2.

3.

PRO TALK with Robin Schiff, co-executive producer of Grosse, Pointe.

"When coming up with sitcom ideas, think what would entertain you rather than imitate what's already been done. When I have my antennae open, I sec ideas everywhere—sometimes it's a magazine, a person, and sometimes it's something that happens in my life."

Stories don't work in stand-up, but they can inspire great plots. The stories, however, must be relatable to most people. The TV series Seinfeld, although supposedly about "nothing," was really about the topics that we all deal with on a daily basis—alienation, rejection, sell-loathing, underemployment, indifference, and bad personal habits. On Seinfeld these topics transformed into plot lines such as • •

a a

getting lost in a parking lot pretending someone's ugly baby is cute

Story ideas can come from stupid things. Sitcom wTtter/producer Ed Yeager got the story idea for his spec script from his baby-sitter. "She told me that somebody gave her a rat that they didn't even want. Then the rat got sick and had a tumor removed. 1 thought that that was funny and worked it into my spec script." People who work on sitcoms become story collectors. Very often the producer will open a writers' meeting with, "What's going on with everyone today? What happened over the weekend?" And it's not because producers care about the writers' personal lives; they care about good stories. Sitcom writers pay attention to things that are problems or things that are frustrating or perplexing. This becomes the starting point for a story that is then shaped according to how the characters' world responds to thai situation. For instance, Rob Lotterstein and his partner Ellen Idelson went to pitch story ideas for Will and Grace, a sitcom about a straight woman who fives with a gay man. They took an incident from their own lives—an actor who visited their office and flirted with both of them—and turned it into a two-minute pitch. Will and Grace have an attractive guy flirt with them and they don't know which of them he is flirting with. They need to tind out if he is gav (goal). They can't just ask him (obstacles). They make a plan to break into his house and go through his things, only to get in big trouble. The pilch got them a writing assignment.

Exercise: Writing Out Stories

o .

.}•

— —

Write out some of your favorite stories. You know, the ones you tell at parties that always get big laughs. Then plug these stories into your sitcom and come up with three different log lines.

Sitcoms mirror the hot topics of the moment—a character thinks about getting a tattoo; a character feels that her husband is addicted to the computer; a character sucks up to someone to get into a stock offering. Standup/writer Steve Marmel has this joke about the homeless: "I was walking down the street and this guy asked me for a quarter. I try to have

The plot is the action of the story. It's the "what happens." In a sitcom, things happen because of conflict between the main characters, not because the writer thinks that they will be funny. If you have really done your prep, you will know everything there is to know about your characters. You will know their voices. Then, when you put the characters in a certain situation, the script will write itself as the characters talk to you.

sympathy for the homeless, I really do. But I'm $25,000 in credit card debt so it's not going to happen. . . ever. 'Do you have a quarter? I'm broke.' 'F**k you, you're not broke, you're even. I'm broke. You work for food, I work for Visa. I'm

PRO TALK with Ed Ycager. producer/writer

working for food I bought in March . . . of 1 9 8 9 . ' "

"Put your head around the main characters and get into the mind-set ol the character—their problems, their family—and let the stories flow out of that."

Steve then turned the topic of homelessness into a spec script for Spin City. I l

Log line: When the mayor befriends the homeless he becomes homeless for the day.

Once you've picked a story, you might be tempted to start writing your script. Don't. First play with your ideas to milk them for all they're worth. Here arc some exercises to help you get the most, .and most original, mileage from your story.

Exercise: Turning Current Events into Sitcom Stories Look at the current-event topics in your stand-up act and see which ones could translate into a story line. See if you can turn some of your currentevent topics into simple sitcom log lines.

Exercise: Improv Writing Emmy Award-winning sitcom producer/writer Tracy Newman uses this improv writing exercise to get started:

1.

2. .

1

.

-

Start with this sentence: "YOUR CHARACTER woke up this morning and . . ." And I just write what happens. It doesn't have to be interesting or funny; this is just a way io see how a story can develop from just one line.

Exercise: Write a Letter Sitcom writer/producer Ellen Sandler suggests writing a letter from the main character to a close friend, telling the story. For instance, if Everybody Loves Raymond is the sitcom, and if the premise is that falling in love with someone you meet on a vacation is a bad idea, the letter from Ravmond could be: Dear Bill. I ihought things were going well wiili mv wife. Debra. Then she invited over this couple, Gerry and Linda, we met on vacation in Hawaii. They had fallen in love while in Hawaii and were still all coo-coo eves over each other. After they left. Debra started complaining about how little I do for her. Then the next day my mom's ear broke down. I had to drive her home and so I missed meeting Debra for dinner. What could I do? I couldn't leave her stranded. Talk about a lose-lose situation. Hut Debra said that it I were realiv in love with her, I would treat her the way Gerry treats Linda. I said, "What do I have to do, give vou flowers every day?" And she said, "Yeah." So we go out with this couple again and I'm doing everything I can to please her, but it backfires. Hverything I do ends up being stupid and wrong. Next thing I know, Debra wants to go visit this guy she used to date in high school. So my brother, the cop, gives me this surefire plan for romance. Well, everything went wrong. I got all of these candles and accidentally set fire to the curtains and practically burned down (he house. Debra stopped speaking to me because of that. Then Linda came over to return something and told us that Gerry dumped her. It ended up that it wasn't a relationship but a vaeationship. She said she wishes she had someone like me, and did Debra know how lucky she was? All I can say is, thank God for Gerry making me look good. h y this technique using a few of your log lines as inspiration. Don't try to be funny; you can make it funny later. Don't try to break the stories down. lust write the letters.

Exercise: Talking Out Your Story Tell your stories to someone face-to-face and tape-record the conversation. By doing this, you will be able to see if and when the other person gets bored. Ideas will probably come to you as you tell the story, plus you'll discover which aspects you want to emphasize.

Sitcoms are character driven, which means the story should unfold due to the characters' conflicts with one another. Events don't happen because the writer wants them to or because they arc funny. Instead, one character's needs collide with another character's needs and this creates the situation. Each story contains a lesson the character needs to learn or a problem they have to solve.

PRO TALK with John Truby, writing coach/story consultant

"It is important to come up with a unique desire line [goal] that gets the hero in trouble. This trouble will then escalate. The humor then comes from the situation that the hero himself has caused. Once you have established the hero's trouble, take it to the farthest extreme. Of course, none of this is easy. But if you think dense story, you've got a good shot at a script that will get you through the door."

Exercise: Reviewing Your Story Listen to the tape where you told your story to a friend. Notice the ebb and flow of the story and ask yourself these questions: 1. Is there a place where the story became boring? 2. Is the story realistic? Would these characters really react the way you have them reacting? 3. Is the story character-driven? In other words, do the characters' personalities and desires create the story, or does something external happen to the characters? 4. Is the story too big or too weird? Don't create a life-changing (or showchanging) event for the main characters. For instance, don't have someone get breast implants. Instead, have them think about getting a breast job. Let the character explore the idea and how it would affect their relationships and life. 5. Does the main character have a strong goal that he or she is pursuing?

6.

What are the obstacles that impede the character from achieving his or her goals?

Goal/Obstacles Conflict is the source of comedy and is created by obstacles, which can be physical or emotional. Humor is created from the gap between what the character wants to happen (goal) and the things that stand in the way of getting what he or she wants (obstacles). And the stronger the goals and the bigger the obstacles, the bigger the laughs.

Exercise: Setting the Character's Goal

£gn TALK with Chuck Adams, vice president, Simon ik Schuster 'The story arc is the key to virtually any successful story-based writing. So often I see really well written novels that don't so much arc as they have a little burp, and it's on to the resolution. Without the arc, the viewer/reader loses interest. Relatability, story arc, and through line are the keys to successful storytelling of any kind."

Whal is the main goal of the character in your A-story?

What are the obstacles standing in the way of the character achieving that goal?

W h a t are five additional obstacles thai come up when your character pursues his or her goal?

2. 3. 4. . 5. Break your story into the six beats I mentioned before: 1. 2. 3. 4. 5. 6.

Setup Complicates and escalates Things don't go the way they thought ir would go. Plan Big physical or emotional comedy scene when the plan doesn't work Resolve

Don't worry about the details, just get the six major beats of your story

Like stand-up jokes, sitcoms are highly structured pieces. One reason is that most of them (with the exception of commercial-free HBO and a few other cable networks) have commercials. Sitcoms generally have a cliffhanger at the act break—before each commercial—where it looks as if the hero is not going to achieve his goal. Theoretically, the viewer won't change the channel because he wants to see how the hero is going to overcome the obstacles and win in this seemingly losing situation. Conflict is what creates the momentum and leads to the obstacles and the cliffhanger. The escalation and subsequent resolution of this conflict creates the story arc. The story arc charts the amount of tension or conflict in the story. The characters start out in peace, and very quickly something happens that disrupts that peace. The character then has a goal. The arc climbs higher and higher as the hero's attempts to achieve his goal are impeded by obstacles. The chart returns to a low point as the conflict gets resolved. When working out the six beats of your story, you want to make sure that your arc works—that all the elements in your story build to the resoluiion.

PRO TALK with Emily Levine, writer/producer

"Every beat should be working toward building the arc by pushing ihe conflict forward and then building toward the resolution. If you have an extraneous beat that's funny but does not serve the story—cut it. The biggest problem beginning writers have is they think, 'What would be funny?' rather than, 'What would make a good story?'"

Exercise: Story Arc Break your story into obstacles and chart a detailed story arc. 1. 2. 3. 4. 5.

What is the shape of your arc? Does it peak too soon? Is there a point where there is no conflict? Is there a point where the conflict is not heading toward resolution? Is the conflict always escalating?

The B-Story Some sitcoms have just an A-story, but most sitcoms have a B-story and a few sitcoms have a C-story and even a D-story, such as IIBO's Sex in the City, where all four characters each have their own story. The A-story is the main story of the sitcom and almost always involves your star. "How do you deal with ensemble shows like Friends that have more than one star?"

one might depend on the payoff of the other. The relationship between the A- and B-stories is both funny and surprising. Seinfeld had A-, B-, C-, and D-stories, which usually dovetailed, because the premise of Seinfeld involved the coincidences in life. An example of this was the "Chicken Roaster" episode. The inciting incident was that a Kenny Rogers Chicken Roaster goes up across from Jerry's building. In one story, Kramer protests trying to close the place down, while in another story ferry's college buddy gets fired and starts working at the Chicken Roaster. • Theme-related substories—Some ensemble shows have all the substories based on the same theme. For instance, in Sex in the City there is one theme and each of the four characters' stories illuminates an aspect of that theme. The star, Sarah Jessica Parker, always has the A-story, while the other three characters are in the B-, C-, and D-stories. For instance, in one episode the theme was "relationship deal breakers." Each substory had a character trying to answer the question "When do you stay with the person and compromise, and when do you dump him?"

Exercise: Substories 1. Review your preparation research on your sitcom and find out whether the structure of your sitcom includes substories. 2. What is the relationship of the substory (or stories) to the A-story? 3. Pick another log line for your B-story (and if necessary, C-story) and break it into goal, obstacles, and six beats. •

What are the goals of your characters in your B-story (stories)?

•

What are the main obstacles standing in the way of your character achieving his or her goal?

In these shows the A-story alternates between the characters each week. According to producer/writer Emily Levine, the substories can serve several different functions, depending on the sitcom. •

•

B-story fills out episode—In these situations the substories don't connect with the A-story or one another. This is the least complex form of storytelling. B-story counterpoints A-story—In these stories, what happens in one story affects the other. They dovetail at a certain point, or the payoff of

•

What are five additional obstacles that come up when your character goes for his or her goal?

2. 3. 4.

•

Six beats of your substories:

I. 2. 3. 4. 5. 6.

Las married and he seems to like women. Amy: "Sure, he started out straight. gut I'm the spatula. 1 turn them." SCENE A—INT. RAY AND DEBRAS BEDROOM—NIGHT (I)

When Robert and Amy break up again the family starts to wonder if he might be gay.

Ray was hoping to get lucky, but Debra's not in the mood. She's sad that Robert and Amy broke up, and she feels kind of responsible since she introduced them. This was a couple childbearing years off Amy's life, and it seems like Robert is never going to get it together to marry anyone. Ray: "Poor Robert. He'll never have a wife and kids. For the rest of his life he'll just have to go on date after date, looking for love with strangers." Debra doesn't appreciate Ray's jealous tone. Ray tries to cover by actually taking part in the conversation: "Why did they break up?" Debra: "I don't know. I think Robert has a fear of commitment." Ray: "Is that what Amy said?" Debra: "No, she thinks Robert's gay." Ray finds it amusing that women assume a guy is gay just because the guy rejected them. Debra rejects Ray all the time, and he doesn't call her a lesbian . . . every single time. Debra forces Ray to think for a minute—is it possible Robert might be gay? Ray is annoyed by the question. Robert obviously likes women. Why are they even talking about this? Debra: "Maybe he's gay and he doesn't know it yet." Ray: "I think that's something you know." Debra makes the case that some men can't face the possibility that they are gay because it would be too devastating to their families, so they never deal with it. and they end up alone and unhappy their whole lives. Wouldn't that be sad if that were the case with Robert? Ray: "Wouldn't it be sadder if he ends up with a closet full of leather chaps?" Debra is pissed at Rav for being so closed-minded, and his stupid comment proves her point that if Robert were gay, the Barone family would not be very sympathetic or supportive.

TEASER—INT RAY AND DEBRA'S KITCHEN—DAY (I)

SCENE B—INT MARIE AND FRANK'S KITCHEN—DAY (2)

Amy is crying to Debra about the fact that she and Robert broke up again. lie's still not sure she's "the one," and he is not sure what he wants blah blah blah. It's the same old thing. I le's never going to marry her, and she has nobody to blame but herself. She's always falling for the wrong guys. 1 his is her pattern. Debra reminds her that her pattern before Robert was to be attracted to gay men. so at least Robert wasn't that. "As far as we know." Amy says. Debra laughs, but Amy is half serious. She never really considered it before, but maybe Robert could be gay. Ann-: "Think about it. He likes sho* tunes, he can dance, he has a good sense of style, he didn't pressure me for a year when I didn't want to sleep with him, and he's very attached to hi8 mother." Debra isn't ready to accept this theory. She points out that Robert

Ray stops by Frank and Marie's to borrow something, but while he's there he starts to wonder if Debra might be right about his family. Are they too judgmental to accept alternative lifestyles? He asks Frank and Marie how would they react if someone they knew were gay. Frank doesn't want to hear this kind of talk while he's eating. Rav says he's just curious. Could they ileal with "•' Marie says of course. Her second cousin Freda is a lesbian. Frank never knew this. They get sidetracked with talk of Freda. Then Ray asks how they Would feel if one of their sons were gay. Frank: "Holy crap! I knew it. Marie, didn't I tell you there was something funny about Michael?" After a frustratlr >g moment of defending Michael's masculinity, Ray finally blurts out that he Wasn't talking about Michael. He was talking about Robert. Marie and Frank

Chart a story arc for all of your substories.

Whether you arc writing a spec script or writing on staff, everyone writes a story outline before writing the actual script. This outline is a very detailed "what happens where," scene-by-scene description of the story, which may even include snippets of dialogue. Here is a sample—an outline of a produced episode of Everybody Loves Raymond, written by co-executive producer Cindy Chupack.

EVERYBODY LOVES RAYMOND [outline] "What's With Robert?" by Cindy Chupack

/

arc stunned. Marie: "Robert's not gay. He's a policeman." Frank: "One of those Village People was a policeman." Ray tries to explain that Robert isn't gay, he was just wondering how they would feel if he was, but Marie and Frank are already arguing about their gay son. Ray gels a glimpse of What it would be like to come out to his parents, and it's not verv pleasant. Frank is horrified and completely ill-equipped to handle this, and Marie is surprisingly fine, saying that "the gays love their mothers." Before Ray can set the record straight (so to speak), Robert enters. Robert: "Hi, everybody." Marie hugs him and says, "It's fine with me if you're gay, dear." END OF ACT ONE

Exercise: Writing an Outline Now that, you have the six major beats of your stories (A-story, B-story, and so forth) worked out, combine the stories and detail each one of them by writing a small paragraph about what happens and where it happens. As Ellen Sandler suggests, "Figure out the best location for each scene to take place. Remember, you are limited. It is not a movie where they go away on location." If you are writing with a partner, the best way to work on a story is to use a tape recorder. Sitcom writing team Rob Lotterstcin and Ellen Idelson (Grosse Pointe, Will and Grace, Ellen, Suddenly Susan) tape-record sessions where they talk about the scene and improvise the different roles. "Only when we have acted out the whole story do we turn on the cornpater and transpose what made us laugh. That way you get natural dialogue—the way people really talk. If you just sit down at the computer, your dialogue can sound literary and stilted." Meaning—not funny.

W j i t c o m Day 8: Detailing Your Outline By now you're probably chomping on the bit, ready to write your sitcom. but not yet. If your outline doesn't work, your script won't work. Better to find the mistakes now and save yourself time later.

Exercise: Making Your Outline Work Compare your story outline with what you learned from dissecting the show in terms of numbers of scenes, theme of the story, locations,

/

you can. Ir"s not necessarily going to be good, funny, or tight, but this burn draft will lay the foundation for future drafts.

Exercise: Cutting Out What Doesn't Work ,

Exercise: Picture It What the characters say and do, and how they react, must be extremely authentic: everything said must be in character. As in stand-up, if you write to be funny, you might sacrifice the authenticity and wind up with a script that loses the reader's interest on the first page. Relax, close your eyes, and imagine the room in which you place your characters in the first scene. Somebody is doing something. What are they doing? What do they say? How does the other character react to this? What do they say? Go through the entire story imagining the interplay between the characters—essentially, watch the show. Then open your eyes and write the entire script. Go for the realism first—in the next draft you can go for the funny. It's more important now to make sure the story works and is believable; you can punch it up later. Then talk the script out into a tape recorder, acting out all the parts. Even if something isn't working, don't stop. Write out die entire script. It's not important how many pages it is right now; just get the story out. If you don't have a joke where you want one, don't stop—just put something there as a "holding place" and keep going until the whole story is on paper.

B

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Cut anything that is unaulhentic or unreal, even if it is hilarious. It will break the reality of your storv and distance the viewer (and the reader) from the story. If a scene is not about a main character (A-story) or a secondary character (B-story) striving for their goal, cut it. Is the story interesting? If the turns are predictable, then change them to something that is a surprise.

In a comedy, il anything can go wrong, it will. Robert McKee, writing teacher and author of Stoij: Substance, Structure, Style, anil the Principles of Sa-ecnwiting, refers to this as the comedy gap—the gap between what is supposed to happen and what actually happens. For instance, in real life you walk up to your front door, put in a key, open it, and enter. In a comedy, you trip on the way to the door, hit your head on the doorknob, and then the doorknob comes off when you turn it. You reach into a pocket to get your keys, they get stuck in your pants. When you finally do yank them out. you rip your pants. Then the key gets stuck in the lock and, as you pull the door open, it comes off its hinges and knocks you over.

Exercise: Heightening the Obstacles

For the next three days you are going to concentrate on the story structure. Anv working writer will tell you that the key to good writing is rewriting. What often keeps a script from becoming great is that the writer is married to things that arc just OK. Just as in writing stand-up. you must be willing to dump not only the things that don't work but also the things that are just adequate. Adequate won't get you a job. Only brilliance will. If you truly want to be a working writer, you need to view your work with the same critical eye as a professional. That means cut out everything in your story that is phony, unreal, inauthentic. or hack (done before).

Look through your story and make it even harder for your characters to achieve their goals by putting more obstacles in the way or by heightening the obstacles already there. For example, in my "vacationship" story Raymond's wife wants his attention at the exact tiirtc when his mother's car breaks down. To heighten the obstacles, maybe the car doesn't break down in her driveway so that she needs a ride to the supermarket, but instead breaks down in the middle of rush-hour traffic and causes such a huge traffic jam that it's on the TV news. And instead of Raymond miss•ng just an ordinary dinner with his wile, Debra, it could be he misses a dinner she spent hours preparing to celebrate the anniversary of the first time thev said, "I love vou," to each other.

PRO TALK with John Truby, writing coach/story consultant

Now that you made your funny jokes funnier, look at the straight lines in your script and turn those into jokes. For instance, instead of saying, "My father is an alcoholic." try "Let's just say that my father's best friend was Jim—Jim Beam."

"The first thing a writer of a spec script has to do is analyze the setup of the show itself. Incredibly, most writers skimp on this step. They pay have watched the show many times and think they know it. In fact, they have probably missed the keys to the show."

Spend one more day matching up the structure of your spec script to the structure of the produced scripts o( the show. Go back to your prep work and make sure that your script follows the format of the show.

Not every line can be a joke, but you can punch up even the straightest of lines doing what the pros call adding color. That means saying something I in a clever way rather than a straightforward one. So, instead of, "Where were vou? Getting a manicure?" your character would say, "Where were you? Getting those claws filed?" Adding color is an offbeat way of saying the same thing.

1

Depending on the sitcom you're writing, the straight person gives the setup to a joke in dialogue and the funny person gives the retort. This is like in stand-up act-out, when one person says something and the other one reacts. Make sure the characters' lines are in reaction to each other or the situation, not just "funny" things. They have to be real.

Exercise: Punch-up Put an asterisk next to every joke on the page. Then find five other possibilities for each joke. This is good practice even if you think that every joke is a laugh riot. If you do get a job writing sitcoms, you'll find that your opinion of what is funny doesn't count for much. It's what the producers, the stars, and the suits at the network think is funny that is important. Typically sitcom writers have to come up with new jokes at a moment's notice. Go back to the "mind mapping" stand-up exercise (page 183) to work out different retorts.

One of the most painful but most helpful ways to find out what works and what doesn't work in your script is to have strangers read it out loud. Arrange a read-through with friends, or better yet, ask your local college or high school drama department if some of the students would do a read-through. Give the actors the script in advance so they have time to prepare. Be sure to tape-record the reading because you will probably be too nervous during the reading to remember what worked and didn't work. Plus, a comment or suggestion that slipped by you or that you dismissed at the time could be enormously helpful later. Listening to your work will give you a perspective on the flow, timing, dialogue, characters, ami humor that reading it won't. Then ask the actors and listeners for feedback: • • • •

Was Was Was Was

there there there there

anything awkward or that didn't flow? anything that felt unreal? any time that the script became boring? anything thai really didn't work?

And don't defend your writing, no matter what comments people make. Just write everything down and review it the next day. There are always some people whose comments are totally worthless and who are just there to pee on your project. Still, don't defend yourself. Just keep the comments that make sense to you and toss the rest. From this process you will have a good idea of what flaws are in your script.

fojDY: OK, so what would be an anniversary worth celebrating in your relationship? DtliRA: Our first big fight. We had been going out for almost a year. I don't even remember what the fight was about—it was something small and stupid thai escalated into something big and stupid. And we were yelling at each other and all of a sudden Ray stopped and said. "Honey, this is our first fight." And we just stopped fighting, just like that, and started kissing, and, well, never mind what happened after that. But that's when I knew that I really loved him.

(lather up all your notes and the comments you've received. It's time to fix all the flaws and polish all the rough edges. If you did all the prep and story structure work, there's a good chance the basic structure of vour script is solid. But if you didn't take the time to lay the groundwork, this is when you'll pay the price. It doesn't matter how funny your jokes are, because if there is a problem with the story, or the story doesn't fit that particular show or those characters, your script isn't going to fiv and you will have to start over again.

Having Debra prepare a special surprise dinner to celebrate the anniversary of their first fight is a great setup for the fight that occurs when Raymond misses the dinner to help his mom. Which sets up a callback—Raymond tries to assuage Debra (once she tells him what anniversary she is celebrating) by saying, "Look, honey, this is our one millionth fight," which of course doesn't have the same impact as when he said it the first time. In fact, it makes her feel worse because they have fought a million times, which is very unromantic, and makes her think that maybe they're not compatible like Fred and Suzanne. So if you have a script problem that you can't solve, put those characters to work and let them solve it for you!

"What do I do if the basic story is OK but I have one or two problems I don't know how to fix?" Turn to your characters for help. Write a dialogue with the main character, or the character involved in your problem area, and ask her or him what to do. Be direct and to the point and, most important, don't think about or edit the character's response. Write down the first tiling that comes to mind and continue the conversation until you get your solution. Let's say that after doing the read-through, 1 discovered that my idea of having Debra make a dinner celebrating the anniversary of the first time they said, "I love you," didn't work, but I didn't know why or whai to replace it with. The dialogue I would write out with Debra might go something like this: W h y isn't this anniversary of when you first said, "I love you." i° each other working? DEBRA: Because the first time the L-word was said was a disaster. I said it to Ray, and Ray freaked out. and then I freaked out because he freaked out, and believe me, it wasn't anything to celebrate. JUDY:

Now that vour script is in the best shape that you can make it, it's time to have a professional read it and give you notes. And the emphasis here is on professional. Just because your cousin Bubba watches a lot of TV doesn't mean that he is a qualified professional. Who does fit in that category? •

A working writer or producer who works on sitcoms. If you do a little research and really put your mind to it, you will probably find that you are two degrees or less from a working sitcom writer or producer. Scan your family tree for someone who dated someone who is a lormer e\ ot someone who now is working on some show. Make that call and ask them if they would read your script in order to help you become a better writer. At this point, you are not submitting the script for a job; you're just looking to become a better writer.

• •

Have a teacher read vour script. Many schools have screenwriting and sitcom writing classes taught by industry professionals. Pay someone to give you feedback. Manv professional services will review scripts for money. These detailed synopses and critiques are called coverage. Some are very good and some aren't much better than cousin Bubba. Go to our Web site (vnvw.comedyworkshopS.com) and click on "Sitcom Script Referral Service" for more information on how to get professional feedback on your script.

After getting professional feedback, you will probably need to do another rewrite. At the end of this rewrite, check your finished script one last time against the show's blueprint and make sure that it still fits in terms of character, structure, script formatting, story, and sets. Then pat yourself on the back—you now have a finished script. ^^ tand-up and writing sitcoms aren't the only ways funny people can ^ ^ m a k e money. Some other comedy fields: • • • • • •

writing for other comics radio comedy improv TV warm-up humor essays motivational speaking

Part Three, "Funny Money," will explain how to go about getting these jobs, but before you can sell something—namely, yourself—you must be good at vour craft. In approaching these other comedy fields, you should use the comedy techniques you've already learned, but with the following modifications.

While working toward their own success, many comics and writers make both money and connections by waiting jokes for others. Screenwriter bene Mecchi, coauthor of Disney's Hie Lion King, started by submitting

(

material to Lily Tomlin. Gabe Adelson, head writer on Late Show with David Letterman, started by writing material for headliners. Even David Letterman wrote jokes for limmie "J.J." Walker.

PRO TALK with Gabe Adelson, head writer for Late Night with David Letterman

"I was doing stand-up and had written material for various headliners over the years—just selling a line or two here and there. That led to submitting jokes to Politically Incorrect, where I ended up on staff."

r

PRO TALK

with Chris Adams of Crystal Air Radio

"Listen to a lot of radio and as silly as it sounds, don't change the station when the commercials come on. Listen to them because you might want to write some parodies of commercials. Also listen to what the DJs are doing and what the listeners are responding to on the morning shows. The biggest target demo for radio is adults twenty-five to fortynine, so if you are within that range, you are the target demo. So, if you find something funny, chances are other people are going to find it funnv as well."

When writing material for other comics . . . •

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Capture the comic's style and voice the same way vou would capture the voice of sitcom characters. The material must be customized for that particular comic. A joke that would get laughs for Rodney Dangerfield might bomb coming from (ay Leno. Riff off the subjects that are already in the comic's act rather than trying to come up with new topics. Instead, come up with fresh hits on their favorite topics, and give them different toppers. Write volumes of jokes, not just a couple of zingers. Make the jokes short—three lines or less.

PRO TALK with Sue Kolinsky, comic/radio host

"I got my radio job [Mason and Kolinsky Anti Show on WNEW FM 102.7] because I was funny, I was from New York, where the showwas, and I had a big sports background. We put people on our show who were funnv or had a gimmick, such as Michael Sullivan Irwin, who created this character Coach, a politician with a lot of funny campaign promises. We used it as twenty-second spots. Send radio people a tape or a press release or just call and leave a message. 1 would call back if I thought it was interesting for the show. 1 didn't call back if I wasn't interested. DJs don't have secretaries. The best way to contact people is via e-mail."

Companies such as Crystal Air and American Comedy Radio buy comedy material—fake commercials, celebrity impressions, song parodies, and current-event jokes. Here are tips from Chris Adams at Crystal Air Productions (wmv.crystalair.com) about the kind of material they are looking for. • • • • •

Celebrity parodies—but you must sound exactly like the person you are mimicking or don't bother. Jokes and other short, lunnv bits. One-liners on current news items. Human-interest-type stories, weird things going on in the news, and topics that DJs can talk about as well as have listeners call in about. Trivia questions with funny answers.

"Stand-up comedy is a little too structured for me. I want to do bnprov, where you just get up there and be funny spontaneously." [mprov might look like people goofing around and saying funny things off the top of their heads, but in reality it is really one of the most highly structured forms of performing. I highly recommend that all comedy writers and stand-up comics take improv classes to hone their skills

ai character work, act-outs, and spontaneity Improv actors are hired for sketch shows such as Saturday Night Live, TV commercials, voice-over work, game show hosting, TV warm-up, and more. Some of the benefits ol improv are: J It teaches you to be on your toes and in the moment. For a stand-up comic, this is an invaluable skill for handling hecklers, going with the How, and calling the moment. J It connects you to others. Stand-up is a party of one. It can he a lonely craft, while improv provides camaraderie and teaches you teamwork. • It hones your craft of writing dialogue and making it sound more natural. • It helps you create characters for your act-outs and sharpens your eye at capturing people's mannerisms. Very often we see something in life and know it's funny but don't know what to do with it. Improv classes give you a chance to flesh out a character by putting him or her into different situations in order to find the funny

1

Magazines, newspapers, and Web sites will buy articles from beginning writers. Interesting stand-up premises can make interesting articles. Tips: a Read a lot. Cynthia Heimel (Sex Tips for Girls; If You Can't Live Without Me, Wliy Aren't You Dead Yet?), David Sedaris (Barrel Fever; Naked; Me Talk Pretty One Day), and Ian Brazier (Dating Ymr Mom) are some of the great comedy essay writers.

PRO TALK with Cindy Chupack, writer, TV producer

"\ wrote a lot for Glamour—a lot of the women magazines have space for essays. I have a male friend who wrote one for, like, a bridal magazine, about the role of the groom. There's a lot of room now in magazines and newspapers for that kind of thing and then it becomes a great little sample of your attitude and your voice. Whatever is going on in sour life can be turned into a humor essay."

If you live near any major city or university, you will easily find an improv class, and if not, I would suggest starting one yourself. Check out our Web site for recommended improv books.

Every TV show with a studio audience—sitcom, infomcrcial, game show— hires a comic to warm up the audience and keep them alive and laughing throughout the taping, which can go on for as long as six hours. Being a warm-up is more like cheerleading than like stand-up. It entails a lot of PC jokes and audience participation, in the form of games, gossip, games, prizes, questions like "Hey, where are you from?" or "Who came the farthest to get here?" and throwing candy at the audience when they get sleepy.

PRO TALK with Wendy Kamenoff, comic, actress, warm-up "The job is like being a host at a cocktail party or a flight attendant— you've got to keep a lot of people happy. Comics that are angry and bitter need not apply Producers tend to hire comics they know and trust. You can start out by volunteering to host or MC live shows and then send out a lot of letters with recommendations and video to TV producers.'

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Pick a magazine that you like and examine it the same way you did when researching your sitcom. Look at what kind of articles they buy, the length, the tone, the style. .-, PRO TALK with Cindy Chupack

"A lot of times when people write essays they sort of try to intellectualize diings. When they're speaking they're so funny, human, and their observations are so natural and real. But when they write, they do something different. Let your real voice and humor come through your writing and be conversational. I have this one friend who I'm really funny with and I write her funny off-the-cuff letters. So whenever I got stuck writing 1 would think, 'Just pretend you're writing to Marie.' And then it's your natural voice, like you're talking to a friend rather than this big, nameless audience." ^^^^^^^

Turning Stand-up Topics into Articles and Essays •

Pick a topic, a story, or a situation on which vou have a strong point of view. Or pick a topic that interests you and find your point of view bv listing at least ten opinions about it.

Corporations pay big bucks to people who leave employees laughing and motivated. Motivational speaking is 70 percent entertainment and 30 percent message—sort of a funny sermon. Crafting a successful speech is a trial-and-error process. My one-hour talk took four years to put together. 1 started out volunteering to speak for nonprofit organizations. At first 1 was so bad that some of these organizations should have paid me not to speak. Here are some basic tips to assist you in putting together your talk:

PRO TALK witit Sybil Adelman Sap, writer

"The philosophy and the point of the piece should be compatible with the publication. Child magazine is an upscale publication and you wouldn't write an article for them on the allures of being childless, or how to buy hand-me-downs, because you need to keep in mind the audience. I wrote a funny article for them about finding a nanny. The slant was that we mothers will do anything to keep a good nanny. We're sucking up to the nanny—the nanny drives whatever car she wants, the nanny gets the good steak, you get the leftovers."

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Choose a stand-up premise or an interesting opinion that fits the tone of the magazine and write your thoughts on it as if you were writing a letter to a close friend. For instance, if vour premise was "It's weird that the same people who are against abortion are for the death penalty," that premise would work with a liberal magazine such as Mother I ones but not so well with Parenting magazine. When writing, outline your article in bullet points first. Each bullet point should substantiate an aspect of vour point of view. As in writing a sitcom, the more detail you can put into the outline, the easier it will be to write the article. Do a burn draft of your article—using your outline as a map, write the entire article in one sitting as fast as you can.

The above will get you started and give you something to work with. But any professional can tell you (hat writing is about rewriting. The next part is the hard part—punch-up, polish, and tune. Look back to the details on writing a sitcom. First make sure that the structure works and that there is a logical flow of ideas. Next, make it funny. Then make it funnier. Take out anything that is superfluous, inauthentic, or not in ume with the tone of the magazine, and find someone you (rust to give vou feedback.

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Find a topic on which you are an expert, or at least think that you are an expert. This is not necessarily something that you went to school to learn, but rather a topic about which your life experiences have made you an authority, fust as you picked serious topics in your stand-up act to joke about, these topics should be serious as well. To find a topic, listen to what kind of advice you give your friends. How much of it actually works? Make a list of these topics. Do not sacrifice your message for a joke; it will diminish the power of your talk. When putting together your talk, go for the message first— then add the humor as an aside. Look at it this way—you're a funny person giving a serious speech. Always start your talk the same way you would start your stand-up act, by connecting with the audience. Connect with them by being personal and authentic right off the bat and zoning in on where they're at. 1 once made the mistake of trying to wake up a dead crowd by starting with a ton of energy. It had the opposite effect. Rather then riling them up, it overwhelmed them and pushed them away. Tell them up front exactly what your talk is all about and then go for the humor. To avoid the "Who the hell are you?" look, be very straightforward in your opening. Tell them who you are and what you are going to talk about, and then let the humor be a surprise. Never put down anything about anyone in the room. I made that mistake once, big time. I did a talk for an accounting firm, but before I spoke they showed this extremely long and boring home movie. So 1 opened with a joke about how long and boring the film was, not realizing that it was the CEO's home movie. Lesson one—never make a joke about the person who signs your check.

Clean up your language. For some organizations, even hell and damn are unacceptable. If there is any part of my act that I am concerned about, ] always run it by the client before I put my fool in my m o u t h . Corporate talks are a good h o m e for stories, //"they illustrate a salient point. Say what your point is, tell the story, and then say again what your point is. W h e n telling stories, use act-outs to perform all the characters in your story. Speeches generally follow this structure: •

—Identify their problem. Get specific information on the audience so you really know what issues they are struggling with. For example, "I understand that this company is going through a lot of change. They are hiring people and there is no more office space. This can get vou stressed and make you want to slam the door to your office. But then again, you don't have an office. You don't have a door. You're working in a cubicle."

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—Present yourself and your information as the solution to their problem. "I can show you how to make a h u m o r choice and laugh your way out of stress."

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—Qualify w h o you are and why they should listen to you. "'I have had personal experience with this problem . . ."

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—Tell them what they need to do what you propose. "This is what works in my life and should work in yours . . ." PRO TALK with Woody Allen, quoted from The Great Comedians, by Larry Wilde

(1972)

"You like to write jokes and vou like to tell them, and you do it. After

PRO TAIK with speaker and author Lilly Walters

that, it's pure luck." " W h e n creating a speech, ask yourself, what three things must the audience remember one year from now? Find a way to repeat those three things at hast six times during your speech."

I So far this b o o k has focused on the show side of show business. T h a t will get y o u a few o p e n mikes, a nibble at y o u r scripts, a n d all the n a c h o s y o u can eat. You must also focus on the business side if y o u want to have a

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End your talk with a "heart story." This is something that will move them

m o n e v m a k i n g c o m e d y career. H e r e ' s h o w to gel y o u r foot in t h e door, git

emotionally and maybe get t h e m to give you a standing ovation.

your talent noticed, a n d get your p a r e n t s to stop w h i n i n g a b o u t s p e n d i n g S 7 0 . 0 0 0 to send y o u to college.

For m o r e detailed information on h o w to p u t t o g e t h e r y o u r t a l k 1 reco m m e n d Speak and Grow Rich, by D o t t i e a n d Lilly Walters, or go to o u r W e b site for links to speaker sites (www.comedvworkslwpS.com).

Step 1: Get good. Step 2: Get noticed. Step 3: Get paid. The way to become successful isn't a big mystery. The comedy business works just like every other business: Get good—develop a good product. Get noticed—advertise it. Get paid—duh. But many novices seem oblivious to this rather obvious 1-2-3 approach. They forget that timing, like everything else in comedy, is the key. Putting yourself out in the marketplace before you're ready not only can hurt your career, it can even prevent you from ever having one. The good news is, everyone gets at least one shot. Someone important will read your script, see your act, or hear your pitch. The bad news is, someone important will read your script, see your act, or hear your pitch. If you aren't ready and if it isn't good, your first break might be your last. "Hoiv long will I be struggling before I get famous?" Being successful in comedy is very different from being famous. Becoming famous is actually easier than becoming successful at comedy To gel fifteen minutes of fame, you just have to do something outrageous. To get successful at comedy, you have to do an outrageous amount of

work. Many people don't know who veteran stand-up Paula Poundstone is, but almost everyone recognizes the name of penis sheer Lorena Bobbin. Cutting off someone's penis is quick and easy. Spending years perfecting an act, writing scripts, and waiting three hours to do three minutes at an open mike is long and hard. So, if fame and fortune arc your only goals, start a pyramid scheme, live with O.J., rob a bank. I tell into the trap of equating fame with success. For so many years I felt like a failure. It didn't matter if I got a standing ovation, had a great writing day, or even pulled in some big bucks doing comedy—1 wasn't a household name. It took me a long time to realize that success is a state of mind. My critical voice that nagged, "But you don't have a sitcom," quieted down as I started focusing on small triumphs—like finding a great premise, writing new material, having a great set. Today 1 enjoy my career. Only about 1 percent of comics are famous, yet there are a lot of us out there making a fine living from the road, corporate gigs, TV appearances, writing for other comics, speaking, and, of course, writing books. Enjoy where you are—today.

Performing Comedy • Stand-up comic Opening Act (support)—SI00 to $150 per night. MC—$100 to $200 per night.

Feature—$200-5500 per night. Cruise Ship— SI,000-$ 10,000 per week, plus the cruise. Tours—often profits are split with tour manager. Alternatively, the above rates plus travel and accommodation costs. Universities—$400 to $800 for a one show. Corporate—S500-S 10,000 for show, squeaky clean. TV appearance—$300-$ 1000. G Improviser Sketch shows—usually split a cut of the door. Corporate—$300-$ 1,500 per day. 3 Commercial Actor

"I'm not sure if I want to write comedy or perform stand-up. Can you tell me which one makes more money?"

TV commercials—$500-$30,000+ per day, depending on status. _l Voice-over performer

If you are doing this for the money, I suggest starting an Internet company. That way you'll probably make a lot of money and nobody will scream, "\ou suck!" while you're working. I don't know any successful comics or writers who got in it for the money. We do it because that's what we do. That's what makes us happy. That's what we're passionate about. But to answer the question, here are some salary breakdowns as of 2 0 0 1 . For more up-to-date rates, get on the Internet and go to die Writers Guild, mvw.awg.com.au in Australia, or www.nzwritayguild.org.nz in New Zealand.

Note. These prices are for people who are not household names. Once you're a known commodity you can get astronomical fees and a large bowl of red (and only red) M&M's in your dressing room.

Voice-over—SI30-S380 per hour. 100% voice-overs and screen appearance—$2,000-$ 15.000. J Radio comedy $50+ per joke. Radio on air personality—$60,000+ per annum.

Writing Comedy Q Screen TV— $4,500-$7,000 for a half hour comedy show. Screebwriting and Directing (films)—$30,000-520,000. • Literary writing Magazine articles—depending on the publication, between $1.50 and S4.50 per word. J Managing and Booking Management gets 15 to 20 percent of talent's gross. Agents get 10 to 15 percent of talent's gross. Literary agents get 10 to I 5 percent of talent's gross.

Managing and Booking Managers get 15 percent of talent's gross. Agents get 10 percent of talent's gross. College and speaker agents take 15 to 30 percent of talent's gross. Literary agents get 10 to 15 percent of the writer's gross. Some of these salaries might seem like a lot of money, but when you deduct expenses, it's slightly less than what my grandfather made selling curtains. Let's say you get a writing assignment, on a TV sitcom and make $16,000 for one script. That's your gross. Subtract from that your agent's commission, all the how-to-writc books you had to buy, adult extension classes, copying, paper, phone bills, postage, messenger services, FedEx bills, faxes, computer diskettes, brass grommets to hold the pages together, flowers you bought the producer on her birthday, and the singing-telegram stripper you sent to the producer. Then divide that sum by all the hours you worked on the script plus all the hours you spent writing spec scripts. If you're lucky, you made about $5.40 an hour. So if you are in this funny business for the money, do vourself a favor and buy a lottery ticket—the odds of striking it rich are a whole lot better. If you do comedy because that's what you love, then you'll be happy whether you make money or not. And if you do make money—wheee!

A lot of times people end up getting jobs that they never could have anticipated. Late Night host Conan O'Brien wasn't known as a performer. He was ;i writer on Saturday Night Live when producer Lome Michaels chose him to replace David Letterman on NBC's Late Night with David Letterman. Fritz Coleman was spotted at a comedy club and offered a job as KNBC's weatherman. In 1980 Seinfeld was plucked from the stand-up circuit to write for Benson, a popular sitcom, at a salary of §4,000 a week. He didn't last long but ended up the star of his own series, making millions of dollars. The moral of the story—don't be afraid to try out for

anything. Exercise: Finding Your Passion Career choices are based on passion, not practicality. If you have followed the exercises in this book, by this time you might have performed a standup act, written a spec script, put together a one-person show, or perhaps just thought about writing a humorous essay. Maybe you started off reading this book wanting to write sitcoms, but later realized that writing jokes for other comics is more your thing. It doesn't matter what you chose to do, only that you love doing it. Whatever field of comedy you choose, ask yourself these questions: 1. Is this something that I would be happy doing ten hours a day, every day? 2. Could 1 do it for five years without making money and not give up? 3. Repeat question #2 and be honest. What two fields of comedy appeal the most to you? 1. 2.

Exercise: Writing Your Future In order to get where you want to go, you need to know where you're going. The first time Jim Carrey performed at Yuk Yuk's Coined}' Club he pvas booed off the stage. It took him two years to work up the nerve to go

back. At n i n e t e e n , he caught t h e bus to Los Angeles. Failure wasn't an o p t i o n . "1 wrote myself a check for ten million dollars 'For Acting Services R e n d e r e d ' a n d 1 k e p t it in my wallet until the d a y I e a r n e d it." Every journey begins with p l a n n i n g y o u r d e s t i n a t i o n . 1.

Spend an hour writing a magazine article about your success—the Stor\ you want to appear in seven years. Be specific about which magazine would write about you. Are you on the cover of Time magazine, or are you being trashed in the National Enquirer? Be very specific about the details of your life. I did this exercise back in 1982. T h e title was "Local Ocean Park Resident Skyrockets to Fame." T h e article began like this—Judy Carter, a struggling stand-up/actress, no longer has to struggle after being signed to one of the most lucrative studio deals around... It went on not only to rave of my career success but to speak in great detail of the fancy restaurants where I had my meetings, my huge contributions to the arts, and my friend and trainer Arnold Schwarzenegger, "who shaped my butt into the tight, hard, and high ass it is today." Well, not everything came true—my career is in better shape than my ass—but it helped to have a vision.

2.

Get very specific about your career goals. My ultimate career goals are

In order to achieve my career goals, the actions I need to take are

By (insert date)

I am committed to the possibility of

N o w t h a t y o u k n o w w h e r e y o u are going, let's gel on to Carter's 3Step C o m e d y Business Strategy—get good, get noticed, get paid. T h e s e steps can a n d do overlap a n d it is n o t n e c e s s a r y to do t h e m consecutively. You can get paid a n d get noticed while y o u ' r e g e t t i n g good. B u t n o t h i n g will last unless you m a k e getting good y o u r top priority.

pile of it, then, "Next!" Maybe twenty scars ago a comic could make a career out of seventeen minutes of material, or got by on the success of one script. Nowadays, however, an agent will only sign someone who has at least an hour of killer material, two killer spec scripts, and a lot of projects on the front burner. Notice I don't say "material" or "scripts." You must have brilliantly funny killer material and killer scripts. Unfortunately, most comics and comedv writers don't create top-notch material in the first couple of years. I cringe when I look at what I did onstage during my first four years. It's not that it wasn't good or funny, it's just that it takes a lot of trial and error to come up with original material that truly reflects your vision and your voice and that reflects your persona.

^91 * y hether you want to write comedy or perform it, getting good is a Vv daily challenge, and you have to work al it all the time. It's not something you do when \oufeel creative. It's something von do no matter what, even when you're too busy, too tired, or too burnt out from your day job. Yon even do it when you're recovering from plastic surgery. Why? Because that's what it takes to get good. Remember—every day that you don't work on your act or your script, some eager beaver is getting that much further ahead of you. The real competition comes in the everyday chore of working to get better at your craft. So when you are thinking about skipping a writing session, an open mike, or a workshop class, think of that comic out there who is showing up—prepared and sober.

Accumulating killer material can be an aggravating game of catch-tip because even your best material will get old—fast. As soon as you say, "What's up with that Republican president?"—there's a Democrat in the White House. That funny TV commercial you like to parody is off the air, and suddenly the celebrity that you trashed for five minutes' worth of yucks is dead. Yesterday's hip is today's hack. Your Golden Girh spec script might be brilliant, but it isn't going to get you work today. You have to work on new material and new scripts every day.

Exercise: Keeping Current • •

•

• Imagine this. You finally get an agent to come see your act or read your script, and guess what? He liked it! You're in heaven, until you hear the scariest words in showbiz: "So, what else do you ha\ r e?" TV eats up material quickly. The good news is, there's a big and constant demand for funny stuff. The bad news—if you don't have a stock-

Make a regular time to work on your material. Rumor has it that Jerry Seinfeld set a timer and wrote until it rang. Be willing to throw out material—even if it kills. If you get a chunk that kills and you do it at every show, soon you will depend on that piece. You may even become frightened to perform without it. lake a courageous step and toss it out for a few months, to make room for another piece to add to your stockpile of killer material. Go through this book again and again, because each time that you read it you'll be at a different level of skill, and there's a good chance you'll get something new out of it each time. Write even if vou don't feel like writing. Sometimes the darkest of moods will yield the freshest material. What vou write might not end up in your act or a sitcom script, but you might be on your way to a great New )fork magazine piece, "50 Reasons to Go on Prozac."

PRO TALK with Christopher Titus

"My real success happened when 1 started talking about the dark side of my life—my mom trying to commit suicide, my dad's drinking. What made a total difference in my career was when I stopped trying to be funny and started being OK with exposing my reality—but all done in a funny way."

There is no book, course, or formula that can teach you how to be a seasoned performer. As the Nike ad says, "Just do it." Comics with smart material but amateurish stage presence are called writers. If you want to be successful as a comic, get onstage, on any stage, as much as you can. "But open mikes suck."

PRO TALK with Richard Lams "Don't perform in high-profile clubs too soon. Work on your craft in places you won't be judged too harshly. Stick with nice people—the movers and shakers who have been successful won't be threatened and arc capable of giving you advice rather than just judging you."

Stop whining about how bad open mikes are. Open mikes are comedy boot camps—the worse they are, the more seasoned you become. To get certified as a scuba diver, I went through a program that simulated every possible thing that could go wrong—losing my mask, losing my way, and even losing my air supply. Open mikes are the place where everything does go wrong. The mikes go dead, the audience is dead, and vou die. That OK. Better you learn how to deal with these bad situations at Comedy Night at Lou's Lobster House than during audition night at the Comedy Store. Because when you finally get that big agent to come see vou per-

form, there's no guarantee that the audience won't be small, sleepy, or stupid. So do yourself a favor and start small. Hey. Rosie O'Donnell got her stan doing stand-up in bowling alleys and Hamburger Hamlets. Create Your Own Open Mikes Not enough open mikes in your neighborhood? Hey, you're creative—start your own. One of my classes started their own comedy club at a hotel near the airport. They figured that the hotel bar had a built-in audience since people were stuck there. They worked out a deal with the hotel and charged a cover. Not only did they get paid, but other comics started calling them and suddenly they went from auditioning for spots to booking other comics. One tip—never do it on a sports night. Businessmen can turn ugh when someone turns off their game so the comics can perform.

PRO TALK with Katliy Griffen

"You have to promote yourself. I would rent a theater with a few other comics—Jeanane Garofalo, Dana Carvey—and we charged people one dollar. So people expected that this would be experimental—their expeelations were low. If you can find your audience, that is more important than going for the biggest place. I would bomb at the Improv, so I thought. 'Where can I find my people?' I would perform lor fifteen people at a coffee shop next door to the Improv, which felt better than bombing at the Improv"

Tips on Working Comedy Clubs In the gravy days of doing comedy in the 1980s, there were hundreds of fcomedy clubs. As more stand-ups became available on TV, audiences dried up and clubs closed. Now it's almost easier to get a ride on Air Force One than it is to get a spot in the lop clubs in Los Angeles and New York. I asked owner Chris Mazzilli and former talent coordinator Delilah Romos of New York City's Gotham Comedy Club hov\ to get a spot and how to make il pay off. "What's the best way for a comic to make a good impression on a club owner?"

Don't go over the light when you audition. That drives roe out of my mind. DELILAH: Even if you're doing well—when the light comes on, get off the stage. It's a business and there are time constraints. When you are getting a lot of laughter and you see the light, say, "Thank vou, good night my name is . . . ," and run. CHRIS:

"Anything else a comic should know to get on your good side?" DELILAH: Stay out of the way of the waitresses and be nice to them When you are self-absorbed you can come across as rude, and if they think you're rude, it will backfire when the manager or owner asks them who did well that night. Also . . . Understand that there is a flow going on. Sometimes a comic has nervous energy and doesn't mean to, but gets in the way. When we do two shows a night, we have to reset the entire room and start a second show, so it helps when the comics keep out of the way. Introduce yourself to the manager and ask where he likes the comics to hang out so you don't get in the way Everybody likes harmony, so don't get cocky with the other comics. By to be cordial and foster a sense of camaraderie. When you call for feedback or booking info, leave your name and your phone number twice.

"What should a comic do to get hooked into your club?" Send in a tape—that's (lie step. It's rare that somebody who has only been doing comedy for one or two years gets booked. But there are those occasions when you see someone who is so good that you go, "They have it." I'd say it usually takes about five or six years lo become a good comic. A professional comic can do well consistently in any kind of room, whereas a newer person who has a good ten to fifteen minutes can get thrown by something like a bad crowd. It doesn't make a difference what's going on in the room to the pros, they are that confident. DELILAH: It's a long process. We don't hook people with less than five years' experience, because we want polished acts. In New York there are a lot of venues where you can work out your material—in doughnut shops, coffee shops, and supermarkets. Beginning comics should hang out at the club, meet as many people as they can, try to get a good recommendation, and persevere.

CHRIS:

"Does having an agent help?" The proof is in the pudding. If someone has an agent but isn't ready, that agent isn't going to be able to help them.

DELILAH:

"What do you look for when you book a comic?" GiRlS: I look for the smarter comic, the one with original autobiographical material. These people are unique—their history, who they are, where they come from. DELILAH: Find your own voice and don't be elicited. Do your homework— spend five hours a week watching comedy at clubs so that you learn who does what kind of material and which kind of material is overdone. Stereotypical jokes are just hacky. As a comic finds her own voice she gradually builds her own persona, and out of that grows genuine originality

i

You need to know what other comics and comedy writers are doing, and not just to prevent duplication. You must study the past and the present in oider to find the wave of the future. Rent videos, read scripts, watch 1 V, hang out at clubs, go to festivals, and subscribe to Variety.

"Wliat about language?" DELILAH: Every club has its own character. Chris wants elegant upscale material. He doesn't want really blue jokes. Your language should be appropriate for your audience.

Once you work on something for more than five minutes you lose your perspective on it and need a fresh eye. Although writers, directors, improVIHTS, and actors are always trying to improve their craft by taking classes, most stand-up comics seem to have an "I'm in this alone and

don't need anybody's help" sort of attitude. However, most successful entertainers have a long list of classes, mentors, and comedy buddies who provided roadside assistance on their path to fame and fortune. "But you can't teach anyone how to be funny, can you?" No one can teach you how to be funny or talented, but if you are talented and funny, a professional you respect can help you develop your skills. And no matter how talented and funny you are, if you don't spend your waking hours asking, "How can I improve my craft?" chances are you will spend the rest of your life asking, "Would you like to hear our specials today?"

Performers—approach a successful comic and ask him if he could Watch your act and give you honest opinions of your material. The top stars of comedy arc usually too busy, but there are a lot of comics headlining at comedy clubs who would be flattered by your attention if they arc approached in a sincere manner. Remember, you're not looking to them to help you get work, but rather to help you get good. I love it. when someone sucks up to me in an enterprising way. I got an e-mail from a new Ohio comic, Bryan Emler. He found out that I was going to be playing three cities in Ohio and asked if he could do five minutes opening for me. In exchange, he offered to drive me to all my gigs. Jt was an offer that I couldn't refuse. I got a ride, pleasant company, and before you could say "Cincinnati," he had a solid twenty minutes from running things by me in the car.

Get a Mentor A mentor is someone who can give you feedback and point you in the right direction. Sucking up to people will get you everywhere in this business—especially if it's authentic. Contact and cultivate professionals who think like you but are higher up on the food chain. Seek them out. Buy them lunch. They'll admire your spunk, relive their own green-behindthe-ears days through you, and get a kick out of being a mentor. How to Set a Mentor WHters—get to know someone on a show by noting who wrote the episodes you liked and then c-mailing her or him a fan letter. Introduce yourself as a new writer and tell her specifically what you liked about her writing. Do not ask her to do something for you. Only if you get an e-mail back would it be appropriate to request a read of your script. At this stage, do not ask for help getting work. Ask for honest feedback. But if someone offers to introduce you to her agent—lucky you.

Workshops and Classes A good class offers a safe place to fall flat on your face, a chance to work on something risky rather than settle for the easy, hack joke. Classes give you a weekly structure, forcing you to show up and come up with new material. Even though I make my living at comedy—teaching, writing, and performing—I am constantly taking writing and improv classes to keep me tuned up. Classes are also a great place to network. When one person breaks out of the pack and becomes successful, he often remembers the people who were with him at the beginning.

PRO TALK with Tom Shadyac, film director and former student

When I was casting Eddie Muqihy's movie The Nutty Professor I called in one of the students 1 met from Judy's workshop."

PRO TALK with Rob Lotterstein, sitcom writer/producer

"People contact me all the time over the Internet—'I'm twenty-two and I live in Ohio. 1 saw in your AOL profile that you're a writer. What show do you work on?' I've had people compliment me on shows I've written. One person asked if I would read his script. I asked him to mail it to me. I know what it's like being a beginning writer and 1 like helping people."

Tips on Picking a Class • •

Audit the class first. Chemistry is important. At Comedy Workshops, we let evervone take a free class before signing up. Find out the teacher's credits. 1 wouldn't take a stand-up or writing class from someone who hasn't been somewhat successful doing it themselves.

•

Does the class promote originality? II not. it might not be a good place for developing authentic material.

"WJiat about hiring someone to write stand-up material for me?" When I first started out I hired an expensive comedy writer to write me ten minutes of material. It was a joke all right, for the wrong reasons. That material might have worked for Bob Hope, but not for me. It was that writer's vision of what I should say. Comics who can't create their own material are called actors. Once you become successful and have an identifiable persona, only then can people write for you. But the very nature of being a comic means that you have a burning desire to talk to an audience about something. No one can tell you what that something is and write it for you. Others can help you uncover it, add to it, and punch it up, but ultimately you are the one who has to have the ideas.

•

•

vere, and an awful lot of lucky breaks. But there are goals that you have full control over, such as how many hours you write, how much material you develop, and how many times you perform. Getting together an hour ol stand-up material might seem out of reach, but if you created only seven iv seconds of good material a week, in a year's time you would have an hour.

Exercise: Goal Setting You might have become a comic to avoid time clocks and quotas, but if vou re like many people, if left to your own devices you just cruise porn sites on the Internet. Make weekly commitments to write and perform. Weekly Goal Sheet

Where to find help:

This week I will

Writers can hire professional script readers to write coverage of their script. This is a detailed synopsis and opinion of your story. Go to our Web site for a list of companies that do diis. Performers: The buddy method is the best way to create material. If you need a professional opinion of your act, go to our Web site for a list of contacts.

• • • • • •

Internet Services Every day there are more and more resources for comedy writers and performers on the Web. Go to the "links page" at vmvi.comedywtaishffpS.coin lor the latest comedy dot-com resources. Newsgroups arc also a great resource of information. If you have any questions you can post them and someone will get back to you with answers. One of them in particular— alt.comedy.standup—has great tips and support amidst the bitching.

If your goal is starring in a sitcom, headlining a club, or making a million bucks, it's pretty much out of your control whether you reach that goal. That will depend on the depth of your talent, your willingness to perse-

write for minutes each morning create pages/minutes of new material perform times try out new jokes have a comedv jam session on call at least new people to help my career Go to www.comeayYwrkslwpS.eom for goal forms that vou can print out.

Lcno. ferry Seinfeld, Billy Crystal, Andy Kaufman, and Albert Brooks. They were the comic's comics. Watching their sets at the Improv was more important than cruising the bar for dates—that's how good they were. This was before the L.A. Improv was the breeding ground for TV development deals. Back then, comics followed their gut instincts rather than their agents' advice. I remember one night in 1975 when Albert Brooks took to the Improv stage at 11 P.M. and didn't get off until 3 A.M. A decade later, I still remember his premises—"Hey, you know how comics just do material that everyone can relate to? What if comics did material that no one could relate to? OK, you know how it's New Year's Eve and you are stuck in an elevator? Right?" He was a brilliant comic. But until you are at the brilliant stage, there are ways to stand out from the pack while you are honing your craft.

K P » he way to get noticed is to promote yourself. Until you are so sucJb cessful that you can hire a PR agent at $2,500 a month, you will need to be your own publicist. Even if you can afford to pay a publicist, don't cash out your trust fund yet. A publicist can only promote something that is newsworthy. And face it, a stand-up comic playing at an open mike isn't going to make the six o'clock news.

PRO TALK with manager Bernie Brillsteh

"If you only have six or seven minutes, make sure that you're not going for cheap laughs—shock language and filthy humor. Look good. 1 don't mean pretty—I mean good. Look neat, have pride in your appearance—shine your shoes and put on a clean shirt. 1 lave a beginning, a middle, and an end to each joke, which can't be longer than a minute. Put your personality into your material and make sure it's relatable."

If you get good, you will get noticed. The point of PR is making sure the right people notice you. There is certainly a glut of stand-up comics and comedy writers out there, but very few are truly excellent. In my generation of comics the great ones were, to name a few, Robin Williams, l;1.v

Lctterman is a brand. So is Seinfeld. Everyone knows what kind of comedy they represent, and that brand of comedy is reflected in their material, clothes, and publicity. What is your brand of comedy? Whether you are a comedy writer or a stand-up, in order to stand out it is essential that you distinguish yourself by magnifying your brand of comedy—your identity, your image, your persona. It's not a cerebral decision you make about yourself. It's who you are—exaggerated times ten. Richard Lewis created a readily identifiable persona of "angst" by wearing black, pacing the stage like a caged animal, and basing his jokes on his tortured life. Everything about him says, "I'm sick, I'm mentally disturbed, and I'm in a terrible state." He has a persona and that's his whole stance. Is this a character he made up? No. In my interview with Richard, H became apparent that his persona is just an exaggerated version of who he is.

PRO TAIK ivith Richard Lewis

"The only way I eould feel better was to make light of my low selfesteem, self-loathing, chronic anxiety, and bouts of depression. Once I got laughs for that, I felt less alone, depression was lifted from me, and it made me feel better. Stand-up is a legal drug."

tirsi Carson shot, her sitcom developed faster than you could say, "Poor nailer trash housewife mom." A monkey could have put together that sitcom because Roseanne did all the hard work—she defined herself. Her Catchphrase not only suggested who she was and her point of view, but who her target audience was.

PRO TAIK with Roseanne Ban (as told to me after a show at tiie Comedy Store)

Kathy Griffon jokes about her abundant sex life: "Everything I do is all true and it's just my take on a situation." Kathy also highlights her persona by wearing tight, skimpy outfits that she practically pulls off while she does her act. binding your persona is a trial-and-error process. Phyllis Diller evolved her persona overyears. When she first started out she looked like the woman next door. She told me, "That is what most of the female comics look like now. I realized that if I'm going to be onstage and they've got to pay to look at me, I better not look like the girl next door 'cause you can look at her for nothing." Ms. Diller then took her dark hair and made it peroxide white. She started wearing shapeless dresses because "1 wanted to tell them I was Hat and I wasn't. I had a 38C. I have a million jokes about being flat—'For years I wore foam rubber and then one day I thought, maybe I erased them.' You can't do all those gags if they're looking at boobs." She constructed her look wearing teeny little boots because she wanted them to cul her leg at the exact skinniest point on her ankle. In other words, "I wanted to have a lot of skinny-leg jokes. 'The last time I saw a leg like that there was a message attached.' 'Colonel Sanders loved my legs; in fact he brought out a special package of chicken in my honor. It had no breasts.' You've got to be the leader. You've got to decide who you are."

"Stand-up is my therapy, Judy. I'm just really pissed off!"

A Writer's Voice If you are a writer, you still need to hone your brand of comedy. Although Writers are rarely thought to have a persona, they are said to have a voice. This term has always sounded weird to me because writers don't speak— they write, thus no voice. Yet the word voice is currently heard at every studio meeting. "I love this writer's voice." "His voice is very unique." "He has a very edgy voice." "Her voice is very clear." And yet in over forty-five interviews for this book, no one seemed able to define what it means to have a voice. So I won't try either. Instead, I will give you some examples. Trey Parker's voice (he is co-creator and writer for South Park) is different from Larrv David's voice (he is creator and writer of Seinfeld). Both are extremely funny, talented, and edgy, but their hit on things is totally different. Parker puts his South Park little kids in big situations, while David's Seinfeld characters are big people in little situations. At the root of what we all do is something unique and constant—a sort of through line. It takes a lot of writing of what isn't us to find what is.

PRO TAIK with Larry David

"I like to take something tiny that just expands and see where it goes." PRO TALK ivith Bruce Smith, president gfOmnipop Talent Agency

"It's your job to stand out. Find a way to stand out."

Many comics emphasi/.e their persona by creating a slogan for themselves. When Roseanne Barr called herself the "domestic goddess" on her

Exercise: What Is Your Brand of Comedy? In order to stand out from the pack, evaluate yourself. 1. What are your signature jokes? (Usually the jokes that get the biggest response.) 2. What type of audience do you feel most comfortable in front of (corporate types, college students, women, gays, Italians)? 3. What article of clothing suits you best? Rodney Dangerfield wears a rumpled coat and tie, giving him that "I don't get no respect" look. 4. Create an ad for your act that sums up what you do and targets your audience. What name would you give your show? Sandra Bernhard's siand-up show was called Without You I'm Nothing. This summed up the tone of her show. Six of my students got together and came up with SixPack of Comedy and had a clever flyer with their pictures on a six-pack of beer. What kind of picture would you have in the ad? Can you come up with a one-sentence phrase that sums you up?

m lust for performers: 8-by-IO black-and-white head shot with your name and contact information. Newspapers prefer photos that have a white or light background. I wouldn't go wacky with the picture. If you look at all the successful comics, you'll notice very few of them are weird looking. As with everything else in life, handsome, cute, and attractive work best. Also have a few color pictures on your computer to e-mail to bookers, agents, or newspapers. • Resume—a listing of all your jobs, skills, and training. "But what am I going to put on my resume if I haven't had a job?" Lie—no. Exaggerate—yes. List all the comedy clubs and colleges you've played. It doesn't have to say these were nonpaying gigs on amateur night. You've got to start somewhere. Writers, put on it anv sort of writing jobs, newsletters, columns, spec scripts, and so on. On my first resume I had parts I played in college, open mikes, my skills, my training, and my teachers. It was very, very short but got longer as I got work. If you really have nothing to put on a resume, then just don't have one. •

You're doing a set at Comedy Night at Luigi's Italian Restaurant and someone says, "Hey, you were funny. I'm a TV exec. How do I get hold ol vou?" Do vou (a) borrow a pen from him and scribble your phone number on the back of a napkin, (h) give him your business card, (c) get his business card? I'd suggest both h and c. Do an Internet search on the guy to see if he is the TV exec in charge ol something other than the mail room. And erven if he is only working in the mail room, he probably knows someone. Anytime you are noticed and liked, you need to make something of it. The first step is to have promotional materials with you at all times. Both writers and performers need the following: •

Stationary and business cards. Make them look as professional as possible, which means resist the temptation to make them jokey. Performers, put a color picture of yourself on your business card so when that drunk audience member digs your card out of his pocket on Sunday morning, your picture and the word comic might stir brain cells.

•

•

Biography—a cute story of your life and career. Write it as it would appear in a magazine article about yourself. Keep it to one page or less, doublespaced, and make it entertaining, funny, and informative. Just writers: writer's package. This is a collection of writing samples that should be adapted according to the job opportunity. If you're up for I he Late Show with David Lctterman it would include top ten lists, currentevent jokes, desk pieces, and remote ideas. If you are up for a sitcom staff position, it would be a spec script, and you can also add essay pieces if they reflect the tone of the show you're applying for. lust performers: video. This is your most important marketing tool. The video should be eight to twenty minutes depending on who you're sending it to, but don't count on anyone watching more than the first three minutes. Club owners and agents generally don't like edited tapes with cutaway shots to the audience. It looks like you're hiding something. • •

—Have a few versions of your act. I have a clean corporate tape, a women's issues tape, and a nightclub "let it rip" tape. —The audio on your videotape must be clear. This gets tricky because if you use just the mike on the video camera, what you say will probably be hard to understand, while the conversation of the

drunks seated near the camera will he crystal clear. The best situation is to have two wireless mikes—one on you and one above the audience 10 get the laughs. —Keep your tape current. You need to look like your tape. O n e way to keep your tape up to date is to invest in a video editing system. I'm a gadgethead. I videotape practically every performance with a Sony three-chip digital video camera (DVCAM) with Azden wireless mikes. I keep my tape current by editing it on my computer using Adobe's Premiere and a Pinnacle Systems capture card.

PRO TAIK With Michelle Marx. PR person who has represented Richard Lewis. Paula Poundstone. Rita Rudnei; Robert Wuhl. Louie Anderson, and Judy Carter "A PR package needs to be built around a comic's persona with an interesting bio and the right picture. For example, with Richard Lewis, you think of an attitude. All black clothing and anxiety are very important parts of who he is. We heightened that in his PR package. You don't want a cheery picture of Lewis when his persona is anguish. You want dark and interesting. You want every piece of PR to capture what that comedian is portraying."

PRO TAU with New York City's Gotham Comedy Club's former talent coordinator, Delilah Romos "[On your d e m o video] we want to see that you can perform more

•

Design a flyer thai has a space to put the details of when and where you

t h a n five to ten minutes. Like specializing your resume for a specific

are performing so you don't have to redesign it every time you get a job.

job, check with the club to see what kind of tape they like and then

This flyer should visually express exactly who you are. When 1 first

send the appropriate one. A resume a n d p h o t o are helpful and they

started out and was doing a mix of magic and comedy, 1 made a copy of

show that you are polished and professional. It's nice to see a profes-

an old-time magic flyer, "Carter the Great," that had a picture of me

sional package."

doing a death-defying escape from my grandmother's girdle. It got people's attention and made them laugh. Keep the background light so that your fiver will reprint well in newspapers.

•

Internet Web page. Probably by the time this book is published, all your PR materials can be distributed via your W e b site.

•

Create postcards with blank spaces so that you can add the "where" and "when" on a label. These are great handouts because they can fit in a pocket.

T h e following materials are m o r e expensive a n d c a n wait until you have a clearer idea of y o u r p e r s o n a . •

PR packages. Arrange all your promo materials in an attractive folder. Printing up personalized folders is very expensive, so be creative with labels instead. Even better, get a friend who is a graphic designer or an art

Whether you're a writer or a performer you need to cultivate like-minded

student to give your materials a look that represents who you are. Your

people who will get you. The audience for a New York-stvic comedy

press package should include your biography, reviews, letters from happy

writer will be different from the audience for a Southern-style comedy

clients and club owners, photos, flyers, and articles.

writer. Not everyone will love what you do, but you need to find the people who will. For performers, many of the gigs you get at the beginning of your career will be "bringer" gigs. That is, you can perform only if you bring five paying audience members to the gig. Beginning comics bitch and moan about these gigs, but they are your PR training ground. You must create your own fan base. If you can't or won't do it for yourself, why

would an agent, manager, or producer want to do it for you? Bringer rooms are your training grounds lor success. Unless YOU are Catholic, you are going to run out of relatives fast. You need to cultivate a follow ins; that isn't related to you. If you find that your material is hit-or-miss depending on the audience, don't change your act—change your audience. If you want to talk about being gay, then perhaps performing at a Southern Baptist church open mike isn't a good idea. Not everyone will like you, and that's OK.

•

after it. Having a following will impress an agent and club owner more than the actual show. So once you get your fans' addresses, you must set up a system—such as the software database ACT—so that you can easily reach them. Go to our Web site for links and PR tips in setting up and running a comedy database. E-mail people about where and when you are performing. Almost everyone has e-mail, and using it is free. It's a great way to let people know where you are performing without bugging them too much. Tips on e-mailing: • •

PRO TALK with T. J. Marhmlter, vice president qfOmnipop Talent Agency

"I don't get suckered into how well the crowd is responding to somebody. If I think that they're very funny, very original, and very different, I will be very interested in working with them either way."

• •

PRO TALK with Kathy Griffon "I know that I'm not for everyone. I work well in big cities with gays and young people. I went on the road to work out material for my HBO special. It was a disaster. I was bombing with these Midwest audiences that didn't get me. So when I did my HBO special, I promoted it myself because I knew who I had to get to that taping. I got livers to colleges, to the gay bars—people that I thought would like what I do."

•

•

Tips on Targeting Your Audience • Keep a database. For writers, everv contact, every tip needs to be saved in a database. For performers, every performance is an opportunity to expand your database. If people really like you, they will want to see you again, and you need their data to build your audience. It's difficult to get audience members to fill out data forms, and the old "Put your name on the mailing list at the back of the room" doesn t cut it. 1 suggest having drawings, contests, and free giveaways for those who do give you their info. It's not something you can do during your act, but certainly something that the MC can have fun with before and

•

—Always have a "remove from list" option at the end of your e-mails. —Never send anyone an attachment; it pisses people off. If you want them to see the fab flyer for your show, then post the flyer on the Web and e-mail people the link. —Never show your e-mail list. Send all your e-mail "blind carbon copy." —Put a short video of your act on your Web page. Just a lease. Never put your entire act on the Internet because it will get ripped off and there is no way to prevent that from happening. Go to our Web site for information on how to transfer your video to streaming Web video.

Go to where like-minded people hang out—colleges, bars, temples, gay bars— and hand out postcards and fivers. Don't assume because you hand someone a flyer that they will go to your gig. Talk to them. Donate time to charity. Volunteering to do your act for a benefit is a great way to network and get a buzz out about what you do—plus it's great for your karma. Find a charity (hat you relate to and either produce your own fund-raiser or take part in theirs. I created a workshop for AIDS Project L.A. where I taught stand-up lo people with AIDS. We called the project "HIV, Humor is Vital," Twenty brave souls created material about living with AIDS and performed it at a comedy club. All the proceeds went to an AIDS charity. It created hope for the participants, raised consciousness and money, and it made the six o'clock news. Can't find any place to do your act? Then do it in the street. Comic Michael Colyar spent nine years shouting his act to passersby on the boardwalk in Venice Beach, California. Producer Chuck Barris spotted him and put him on TV. Colyar went on to do an HBO special and Def jam appearances, and became recognized internationally as the Star Search winner who gave away half of his SI 00,000 earnings to the homeless. Moral of the story—get out of the house.

PRO TALK with Frederick Lew, author of Haw to Succeed in Hollywood W i t h o u t Connections.

LOS ANGELES, CA—MARCH 2 1 , 2001 [start with the location and date of the press release—then a one-page press release written like a magazine article. End with a phone number for people to call for more information. |

"Network. Be willing to call or approach anyone and introduce your-

# # #

self. You can't be shy. Contacts are the lifeline of Hollywood." 1 don't know why. but press releases always end with # # #. •

Network your brains out. Do you see the same ten friends over and over

•

again? If so, then join organizations that can assist you in expanding your

—Find an interesting angle to what you are doing a n d t u r n that into a catchy heading. "New up-and-coming comic plays comedy club"

circle of friends and potential audience members. I'm a member of the

will get your press release thrown into the nearest wastebasket. I

National Speakers Association, the Los Angeles Chamber of Commerce,

wrote my most successful press release after 1 had d o n e a few corpo-

the National Organization of Women, the Sierra Club, ACLU, SAG/

rate gigs and decided 1 wanted to do more. The headline was "For-

AFTRA, and Women in Film, to name just a few. Always carry some dis-

tune 5 0 0 companies turn to a stand-up comic to solve employee

count or two-for-the-price-of-one coupons to your shows and hand them

problems." The Wall Street Journal picked up on this press release a n d

out. at the events you attend. Networking at organizations can not only

did a feature story on me. W h e n it was published, the phone didn't

expand your audience base but also lead to other gigs and business

stop ringing. A reprint resides at the front of my PR kit a n d it is still

opportunities.

pulling in the jobs. •

I

—Don't have anything to publicize? Then create an event. O n e time right before I was to do my comedy/magic act at a club, I sent o u t a press release announcing that I would be hanging upside down outside a radio station, performing an escape from my grandmother's

Whether you are having your first play produced or performing your

girdle. The press release was sent to die radio station a n d to women's

Stand-up act, it's important to get the media's attention. Ads are very

organizations. The station did a tie-in and gave away free tickets and

expensive, but there are lots of ways Lo garner free publicity.

interviewed me for several davs leading up to the event. A huge •

crowd gathered for the event. We handed out gobs of postcards pro-

Saul out press releases. lips on press releases:

moting my gig at the club. I sold out the week a n d got featured with •

—Make sure that the press release is in the right form, with proper

a picture and a story in the newspapers.

contact information. At the top, put the contact information, then

At the time outrageousness was my thing; of course, it may not

the header, then the usual who, what, where, when, and why. Write it

be yours. You can do wacky things, but you must remain true to

so it can be reprinted as a newspaper article.

yourself. Club owners will come up with crazy things that they want you to do, but don't do anything that goes against who you are.

FOR IMMEDIATE RELEASE •

| Event Date]

—Get your press releases to the right people and spell their names

Contact:

right. It takes extra time to call up the paper to find out exactly who

[Put here all of your contact info, including e-mail.]

the entertainment editor is, but the extra effort is worth it when your info gets into the right hands. Also make sure t h a t you are sending

[Have a snappy, n e w s w o r t h y headline here.]

stuff to the right publication. Women's Journal would be more likely

"Stand-up comic gives pointers on h o w to not stress o u t during the holidays."

to publish an article about sophisticated female comic Rita Rudner

"Laugh-athon slated to raise money for needy children."

than about wild, disturbed comic Bobcat Goldthwait.

PRO TALK with Michelle Marx, publicist "Press releases are important. A couple of times, they might be thrown into the garbage. Bui after a while it will create familiarity. You warn your name to start hitting people. Just make sure they are well written and with purpose."

Get yourself free publicity on the radio. If you are playing a comedy club, ask the owner to hook you up with radio stations. If you come up with a good angle, radio shows will put on newcomers who have a good angle and something funny to say. • • • •

a sidebar, a letter to the editor, or an opinion piece. It can end up in Time magazine, in your l'R kit, or at the least as a writing sample that will help oil you more jobs.

PRO TALK with Michelle Marx, publicist

"Go to the publications that reflect who you are. I wanted to make a marriage of the right publication to the right client. For example, Paula [Poundslone| is bright and writes well. I had her write opinion pieces for Mother Jones, the L.A. Times, Entertainment Weekly. It's about finding the people who would really relate to you and make them aware of yourself."

—Create a contest with free ticket giveaways. —Build a show around a holiday —Fax radio stations a joke a day —Create a funny character who has opinions on what is going on in town. This could even lead to paying gigs.

Comedy Contests PRO TALK with Michelle Marx, publicist

"A lot of local radio shows have five o'clock funnies. Make a tape of what you do and send it in. Find interesting ways to send it to them. Anything that sets it apart from the rest of their stack of mail will help. Follow up with a phone call."

• Send articles, jokes, and opinion pieces to newspapers, magazines, and Internet sites. A lot of newspapers have a "Laugh Lines" column and it's a great way to get your name in the papers. "But if my jokes get published, I won't be able to use them. Right?" Not necessarily, but don't give away your best bits. Instead, use this as a way to get extra mileage out of current-event jokes that have a short shelf life. Send in a comment piece with your spin on the hot topics of the moment. For instance, if "road rage" is the flavor of the month, then write up funny ways to deal with road rage. You can write it as an article.

Contests are happening all the time. The prize money can be big and the attention they garner even bigger. And even if you lose, the exposure can still help your career. Sometimes the winner is not the most talented comic but the crowd pleaser who docs hack song parodies on his guitar. "What if the Brady Bunch sang rap?!" Yeah, what if you had some jokes? Check our the appendix for a list of comedy festivals and competitions in Australia.

Writing Contests There are hundreds of writing contests, workshops, and competitions, including all forms of comedy writing—plays, short stories, sitcoms, and screenplays. There arc also many festivals that specialize. For instance, the Moondance International Film Festival is a competition for women screenwriters, filmmakers, playwrights, and short-story writers. The Detroit Black Writers Guild offers training and support to African American authors, sponsors an annual conference, and awards literary prizes. Go to our Web site at www.comecly'workshops.com for listings of contests for cornedv writers.

Comedy Festivals C o m e d y festivals h a v e b e c o m e s c h m o o z e fests w h e r e comics a n d c o m e d v writers n e t w o r k w i t h o t h e r funny people, trade information, a n d r u b elbows w i t h i n d u s t r y t y p e s . If you can afford the ticket, t h e following N o r t h A m e r i c a n festivals give y o u t h e o p p o r t u n i t y t o d o just t h a t . •

Tlie U.S. Comedy Arts festival, in Aspen (around March), also known as the Aspen C o m e d y Festival, is put on by HBO. It's mostly a festival for high-level comics and the VI Ps who Learjet in to see, ski, and schmooze. Besides presenting new talent to the industry, they h o n o r the stars of comedy. They've done a Monty Python reunion, a tribute to Robin Williams, and a Smothers Brothers Show reunion, where they brought back all the original writers. If you can afford it and can find a hotel room, this high-end festival is a must-see.

PRO TALK with Bruce I lilts, lust for Laughs chief operating officer Judy: What comics get to be in the festival? Bruce: If you've been doing open mikes for a couple of years, that's probably a little green for our festival. Judy: Is there a lot of Industry at the festival? Bruce: There are a handful of shows that are specifically programmed for the industry. The industry is looking for distinctive, funny comedians with something new to offer who can stand the pressure of having a TV show thrown on their shoulders, or at least to being a part of the cast. So, I'm not about to put people in the line of fire that aren't ready for that. Of course, there are the Dave Chappelles of the world. I saw his tape when he was seventeen and I said this guy is a superstar. He showed me four stand-up spots that were all different. Most comics send me the same stupid material on four sets trying to show me that they've been on four shows but also showing me they c a n t write more than eight minutes. Here's this kid that's brilliantly

PRO TALK with Judi Brown, talent booker for the U.S. Comedy Arts Festival

funny, original, who's not swearing.

"1 see over two thousand acts a year, both nationally a n d internation-

ludy: You used a lot of words like original, different, and distinctive.

ally—including stand-up, sketch, improv, theater pieces, and so on. I

Do you mean what they talk about, or how they talk about those sub-

think that everybody sees somebody like me as just sitting in the back

jects?

of the club with her arms folded—judging a n d jaded. N o t true. I'm

Bruce: It's both. There are some comics who have really wonderful,

totally inspired with what I do for a living. There is nothing in the

original deliveries, but when you read what they've just done on paper,

world that would please me more than if you were an absolute knock-

it's not t h a t brilliant. And then you have other people who have bril-

out. W h e n you're good, you make my job a lot easier. W h e n I come

liant ideas but don't have a clue how to deliver it. T h e y just stand there

back from Iowa, 1 have to pitch to my boss what I've found. If I come

at a mike and bark out the material with no presentation and shitty

back a n d say, ' T h e r e was nothing there,' then I didn't do mv job right.

clothes a n d three days of beard.

For us it's always about building relationships with talent a n d finding j talent that we can nurture."

Judy: If a comic has been working out a n d they feel that they areready, what do they do to get into the festival? Bruce: We look at every single tape t h a t comes in a n d we gel anywhere from five hundred to eight hundred a year. We also go on the road and have a small staff in L A . w h o screen comics for me to see on

The just for Laughs Montreal International Comedv Festival. This is the biggest comedy festival in the world. It presents eight hundred artists, fifteen h u n d r e d shows, twenty countries, and takes place usually t h e last two weeks of July. This bilingual event presents everything from up-andcoming new faces to established stars of the business from North America as well as from the U.K., Ireland, Scotland, South Africa, Australia. N e w Zealand, Trinidad, and Holland.

my trips to L A . Plus, we go to New York a couple times a year, hold comedy competitions across Canada, and visit a handful of U.S. cities—Chicago, San Francisco, and Boston—every year. Judy: Can you give some tips on what to do and what not to do on a videotape? (continued)

Bruce: Have your tape reflect the type of material you do best. We have all kinds of different theme shows—gay, black, a nasty show, a Montreal show, a relationship show, a smart women's show . . . Know what your theme is and write it on the tape—"1 have great relationship material, here's seven minutes of it." If you have a really crazy, dirty act and you're very good . . . don't send me the softened-down version, give me the best of what you do. If you're gay and you've got great gay material, don't send me the crossover set because you want to be booked on five shows instead of one. Show me the best gay material you have. There's a good chance that someone in the industry's going to be in every room that anyone performs at. Judy: What about the quality of the tape? Bruce: If you have a hard time understanding what the hell you're saying on a tape, how can you expect anyone else to get it? Don't send a tape like that to anyone. The sound should be clear, the picture should be pretty good, and you should be funny, very funny. If you use a camera that's stuck in the root of a comedv club, don't run all over the stage so that you're out of half of the shots. Hire someone to shoot several of your performances over a period of a few days, then pick the best one and make plenty of copies of the tape. Sometimes I tell people, "You're really funny; send me a tape." And it comes in six weeks. It boggles my mind—in six weeks I can lose interest, forget, and book someone else. But if you don't think you're ready, don't send us a tape, because we'll probably write you off for a couple of years. We keep notes on every single person. I think we've got six or seven thousand notes in the computer. We can't see everyone, so if someone is shaking at the microphone and not original, we know they're not going to be a whole lot better in six months. Judy. If you reject someone for one festival, do they have a chance for another one? Bruce: Yes, as long as they're moving in the right direction. But they shouldn't send me the same tape that got them turned down—send me one that's a whole lot better. And if it takes three years to have a better one, then wait three years.

• Big Stinkin Improv Festival, Austin, Texas. BS is the largest annual improv and sketch comedy festival of its kind. Improv and sketch troupes from

all over the world show their stuff to other performers, industry reps, ami Texans. In addition, cutting-edge comics and Improv pros teach a variety of workshops. The festival is held in Austin, lexas, in October. Improv troupes can register online at ivivw.bigstinkin.com. u California Comedy Conference, Palm Springs, California. Everyyear I hold a comedy workshop weekend where stand-up comics and comedy writers take classes, showcase, and network with industry professionals, such as agents, managers, studio executives, casting directors, producers, and top comedy coaches. Beginning comics and writers are welcome to attend. The comedy workshop weekend lakes place in November. You can register at mvw.comedyworkshopS.com.

Showcasing for Comics A showcase is a show produced by a comic or manager that is targeted to the industry. It's kind of like a debutante ball for comics—you're presenting yourself to the world, saying, "I'm good, I'm ready for the big time, and in ten minutes you're going to want me." Agents may organize these nights for the talent they represent, otherwise it is a matter of getting an agent down to see you, and with a small and tight industry it isn't long before you know everyone and everyone knows you. Agents are often hired by venues to program comedy, and so you will often find many agents or their representatives are at the venues. SIN tips for producing a successful showcase: 1. Hire a professional to design the flyers for your showcase. You don't want it to look like you're putting on an amateur night talent show. It doesn't matter how good you are if no one shows up. 2. Mention in the flyer that there will be free food and drinks. It's a surefire way to gel lots of industry people to your show. It's amazing what a bunch of rich people will do for free BBQ chicken wings and cosmopolitans. 3. Make sure everyone who is anyone in the industry gets your flyer. In Los Angeles, the Breakdown Service (www.breaMomiservices.com) will handdeliver your promotional flyers or invitations to every active producer, agent, manager, and casting director in Los Angeles within seventy-two hours. This is the easiest way to get the word out. We do this at our workshop showcases at the Improv in LA. and always get a good industry turnout. 4. Fill the audience with civilians—nonindustrv folks. Nothing is worse

than an audience of just industry people—they aren't known to be big laughers. 5. Even though this is a showcase, take risks with your material and be in the moment. Too often showcases come off dull because everyone is so overrehearsed that they lose their edge. 6. Professionally videotape the showcase. The next day call all the people who didn't show up and ask them if they would care to view the video.

"I've been doing a lot of stand-up and getting a good response. When is it time to quit my day job and do comedy full time?" Generally, that depends on how easily you can adjust to being poor. The poorer and younger you are, the easier it is to do comedy full time because it doesn't entail a big change in your lifestyle. When you're in your forties and have a day job that pulls in the bucks, it's hard to give that up to live in an '86 Chevy Astro Van just so you can open for someone in Kansas.

r PRO TALK with Richard Jeni

"I kept doing comedy even when 1 was bombing because I felt there was nothing else 1 could do. It was kind of like the film An Officer and a Gentleman—'1 have no place else to go!' That kind of melodrama in your own mind is helpful. It's so hard at the beginning that if you feel you have other options you'll probably take them. But if you back yourself into a corner psychologically, like this is the last stop, there's no place else to go, then you'll stick with it."

Many comedy performers and writers work for free for many, many years before they see a paycheck. Screenwriter/director Nora Ephrori wrote ten scripts that never got made before one of her unused screenplays drew the attention of ICM's Sam Cohn, who was looking for a writer to turn Karen Silkwood's life into a movie for Meryl Streep. I was fortunate. When I was twenty-two, I got fired from my first job, as a high school teacher. This made me desperate—which was good. I had always had an act and had performed at frat parties and temple mixers throughout college. But 1 had given up performing the two years I spent teaching because I didn't have the time or energy. Being fired was the best thing that could have happened to me and my career. It was 1974, before the comedy club boom, and Playboy Clubs were the main venue for comics. When I called up the local Playboy Club to audition, they told me to talk to their talent booker, Irvin Arthur. I called him—a lot—but never got a return call. So I naively went to his office with my little magic act. I told his secretary, "Hello, I'm a magician/comedian and I would like to work at the Playboy Club." She told me that he never saw anyone without an appointment. So 1 sat in the reception area for five hours. Mr. Arthur must have felt sorry for me because he finally came out and invited me into his office. I did my act for him, right there in his office, and that night I had a gig at the L.A. Playboy Club—I got $50 and dinner! When Irvin quit, his job, he became a manager—my manager—and he kept me working forty-five weeks a year for five years. Desperation can make you very determined. Being ready means that not only is your work good but you arc willing to put your butt on the line.

immediately rush off to L.A. or New York. Mega manager Bernie BrillStein wisely suggests that new comics not show their act to any industry people until they are better than the competition. "If you are a kid from Ohio, then look at the competition in Cleveland. If you are better than airsone there, take a step out and go to New York to work at a few comedy clubs. If you still think you are good there, then believe me, someone will find you in a club or in L.A. You are not going to be discovered in Cleveland, but wait until you are ready." For writers, the best way to get good is to keep writing, script after script, story after story, joke after joke. For comics, the road is the best place to work out your material. Comic Rocky LaPorte spent forty weeks a year on the road until he got a TV pilot and development deal with CBS. LaPorte won the Johnnie Walker comedy contest and signed with an agent, but it was four years before he felt he was ready to tackle L.A.

PRO TALK with comic Rocky LaPorte

"Everyone was telling me to go to L.A. and get on TV I didn't do it because I knew I wasn't ready for LA. I stayed on die road for four more years until I felt I was ready. You are ready when you have developed some depth and character, and can work any crowd. You have to bomb to succeed. Some comics spend all their time honing a tenminute set that only works in New York. Then they go to Nashville. where their chunk on subways doesn't work because Nashville doesn't have subways. You have to know how to work all the slates. The road is like college and you need it like an education."

PRO TALK with Michelle Marx, publicist

"You have to keep going past the rejection. Don't take it to heart. When you put yourself out there it can make you feel naked. It helps to sometimes look at yourself as a business."

Your First Agent Is You "How do I know if I am good enough to move to a big city and get an agent?" Even though you might be winning comedy contests, or your English teacher in Tuscaloosa, Alabama, thinks your scripts are really funny, don t

In the beginning stages of a career you will meet agents who will want to represent or manage you. Very often these people have the same client list as Woody Allen's character in Broadway Danny Rose—plate spinners, dog acts, and a guy whose claim to fame is snorting nickels up his nose and out his mouth. (True story: my first agent.) These guys can some-

i imes bring you a couple of extra bucks, but in order to become successful before osteoporosis sets in, you need to get a really good agent. Wouldn't it be great to have someone who looks after every detail (lf your career? Someone who can get you stage time and who knows what's going on in the business? Someone to negotiate your contracts and make sure that the checks don't bounce? Someone whose sole focus in life is making sure that you succeed? Guess what? Not only does this person exist, but you are about to sign on with him. Who is this agent extraordinaire? Take a look in the mirror.

about big stars going bankrupt because they turned their businesses and careers over to agents and managers who then mismanaged their affairs. Garry Shandling sued his manager and friend. Brad Grey, for S i 0 0 million, alleging that Grey improperly leveraged his relationship with Shandling to benefit his other business interests and clients. Grey countersued Shandling for S10 million, accusing Shandling of "aberrant and irresponsible behavior." Every agent and manager's number one client is themselves, so if you want to be top dog, you have to look out for your own interests and not trust someone else to do it.

If you are serious about a career in comedy, you must form your own agency—an agency that represents the interests of only one client: you. You will never get more personal attention than when you are the onh client. And if you're working on commission and have only one client, you're going to do everything possible to try to get that client work so you can pay your bills.

Even if you get a good agent who has a lot of connections, unless you personally nurture and maintain those contacts, you'll lose them when you lose the agent—and you will lose an agent (or ten) over the course of vour career. Agents use the "Let's throw everything against the wall and see what sticks" policy. They court you, sign you, and then, ifyou don't get something going, dump you.

"But I don't know anything about the business. step be getting a real agent?"

Shouldn 't my first PRO TALK with Phyllis Oilier

No. The first step is becoming really good at what you do and learning how to represent yourself. Eventually, you will have to represent yourself to an agent, so you must know how to sell yourself. Most of us grow up with the dream that someone will discover us— recognize our talent and remove the burden of having so much unrealized potential. Women especially fall victim to this "Someday my prince will come" sort of thinking. If you think someone is going to come along and take over the business end of things so that you can just be creative, you're living in fantasyland. Repeat after me: "Nobody is coming." Nobody with half a brain is going to work that hard to get 10 percent of the kind of money you'll be lucky to earn right now. You want to be discovered? Discover yourself. Sign yourself. Represent yourself. Become the agent you've dreamed of getting. "But Judy, practically all successful comics and writers have agents and managers." Yes, they do. But all of them had something going on that interested an agent before that agent signed them. And that something they created for themselves. Even big stars can't afford to totally turn things over to someone else. The entertainment trade papers are filled with stories

"If an agent had a brain in his ass he'd be doing it himself. An agent doesn't want you until you're making at least $5,000 a week. Ait agency doesn't want you until you are making a million a week. They are interested in one thing, money. They are not in die business of developing talent. You are. You are the only one who is ever going to know what is right for you."

"Changing agents is like rearranging the deck chairs on the Titanic." —ANONYMOUS

"Don't people need to have relatives in the business?" It helps to a certain point. People will give a relative or a friend a bnak, but if you don't have the talent, drive, and business savvy to back up a nepotistic opportunity, you'll never be more than so-and-so's cousin. Look what being related to a star did for the acting careers of Sly Stallone's and Tom Hanks's brothers. Didn't know that they had brothers in the business? You get my point.

Starting Your Own Comedy Management Business PRO TALK with Richard Jeni

In the eighties, I dumped my never-return-a-call agent and decided that I would manage my own career. I created the management firm of KellerStevens. I made it legal by getting a DBA (doing business as) and hired a professional to design my logo, contracts, and stationery. My manager's name became "Pam Keller." Pam was tough as nails, with a heavy New York accent and a no-nonsense approach to booking her favorite and only client—me. Putting people on hold was an important component of looking like a successful management firm. Radio Shack supplied me with a hold button and Muzak for my phone. 1 developed the character of Pam's secretary, "Doris," in my improv class. Doris was a bit ditsy but had all the charm that Pam lacked. "Keller-Sievens Management, may I help you?" Of course, all of these characters were really me, sitting in my bathrobe in my converted garage and talking in different voices. Keller-Stevens Management (nobody, including me, ever knew who "Stevens" was) got me a lot of work. I remember one club owner saying, "Pam, saw Judy when I was in L.A. and I don't think she has any talent." Any other agent would have offered the club owner another client: "If you don't like Judy, what about Rita Rudner?" But Pam didn't take no tor an answer. "How could you judge her when she was trying out new material?" Pam scolded him. "Look at her videotape at least. Do you think I'd waste my time managing her if she wasn't brilliant!" Cut to—Pam got me the job. Pam reached the peak of her career when I was playing in Indianapolis. David Letterman called the club asking about the tuysterious Pam Keller, whom he had never met. But this deception became too confusing when other comics called and asked Pam to manage them too. It was also difficult when Pam and Judy had to be in the same place. Pam was the only manager in history who never "did lunch" with anyone. This method of representing yourself is recommended only to those with a strong sense of adventure and several personalities. The rest of you will probably do better using the buddy method. You and your comedy buddy go into the management business together and make calls on each other's behalf. This works especially well if the two of you are not competing for the same jobs. For instance, one oi you is a performer and the other is a writer, or you are different gendersIt s a lot easier selling someone other than yourself.

"I have a corporation. Ii is not a company in the sense that you can drive by the Richard )eni building in downtown L.A., but I am incorporated. Which is ironic because one of the reasons people become comedians is to avoid traditional business activities. But the minute you become even a little successful, suddenly you find yourself running a company and having employees. A person chooses to have a company because they want to operate at a certain level. I spend a tremendous amount of time dealing with people, publicity, money, and managers and agents and all that crap. Your first goal is becoming successful, and your second goal is living not lo fall off your perch and go back down."

Setting Up Your Company Whether you are starting your business alone or with a buddy, you will need to make it official by registering your company, creating a mission statement, and having proper contracts, stationery, and basic office equipment. This is not an unusual practice. Most successful performers form their own companies to create, develop, and produce projects for themselves. If you're sitting there whining, "But, I'm just not the business type." heed the wise words of Joan Rivers—"Grow up!"

Getting a Name Your company name should reflect what you do. Mine is Comedy Workshop Productions. Pretty clear about what it is that we do. My friend Carmen McKay is a corporate humorist and her company name says it all, Corporate Comedy. You don't have to be as literal as I was, but your company name should reflect your tone or style. David Letterman's company is Worldwide Pants. The name reflects his irreverent style. Garry Shandling is obsessed with his hair. Name of his company—How's My Hair?

Exercise: Creating Your Company Name You don't want your company name to limit you. For instance, if you want to do dramatic acting as well as stand-up comedy, you probably

don't want your company name to be Butt Funny Inc. This exercise will help you explore all possibilities before deciding on a company name. Do a mind map (see page 183 on how to mind map) of your career. Put what you currently like doing the most in the center balloon. Then write down all the offshoots. Keep creating circles, and include all of vour career hopes and dreams. When you think you're finished, push yourself to go further. Spend at least two days on this. Then play with the words on the page and whatever other words come to mind to find the right name for your company. Write the name of your company here:

Create a Mission Statement A mission statement describes the services, intentions, and possibilities of your company. It should include what you do and what you plan on doing. My friend Carmen McKay, who created the company Corporate Comedy, guided me and my "staff" (my comedy buddy and my assistant) in coming up with the mission statement for my company. The three of us wrote down words that described what the company did as well as ideas about what we could do in the future. On a bulletin board, we tacked up forty-five little pieces of paper—each with a descriptive word— and then narrowed them down to the most important ones: comedy, books, workshop, projects, inspire, educate, transform, film, theater, TV, clubs, Internet, laughter, entertainment worldwide, authenticity. After a little rearranging we ended up with our mission statement: Comedy Workshop Productions creates comedy projects that inspire, educate, and transform others in the mediums of film, theater, TV, clubs, books, the Internet, and workshops where people learn how to spread laughter and entertainment throughout the world coming from their own authenticity.

Making It Legal Once you've decided on your company name and mission statement, it's time to make it official. In Australia you can register your business name

with the Department of Fair Trading, or contact the Australian Tax Oil ice to create a business and get an Australian Business Number (ABN). "Why do I need to get so legal-schmegal with all of this?" You may not be Dreamworks, but you are going to be issuing contracts using your company name, and if there is any trouble in collecting money, vou need to make sure that you've crossed your Ts and dotted your 7s.

Office Hours All businesses need regular hours. If you have been working on getting good, you probably have regular writing hours. Now you need to also schedule, and commit to keeping, regular office hours—even if your day job is an office job.

Office Equipment (let yourself the basics: • • • • •

phone with an answering service pager/cell phone Internet service and e-mail fax/copier computer/printer

Signing Your First Contract Sign up your management company's first artist—yourself. Then make sure that artist pays you. Managers get 15 percent of their clients' gross income. Use that money to pay for phone calls, Internet services, office equipment, and other items and services that will enable your company to grow. Write down the specific career goals you will achieve for your client (you), such as "book open mikes to develop his craft," "create showcases." "make showbiz big shots aware of him," "focus on booking the corporate market." Make it official by writing out a contract of intent, and then sign it. Congrats, you have just signed your first client.

I he first question anyone in power will ask is, "What has she done?" "Nothing" is not a good answer. It's hard to find someone in Hollywood who will give a job to an unknown. Showbiz big shots are more likely to pay attention to you if someone else in showbiz has already noticed you.

Times, L.A. Weekly, and Variety, the phone started to ring. I was called in to audition for TV parts. The Meii> Griffin Show (a talk/variety show of the seventies and eighties) booked me to perform a part of the play, and Warner Bros. TV offered me a development deal to convert the play into a sitcom. Not bad results for just renting a ninety-nine-seal theater.

PRO TALK with Ellen Sandler, executive producer of'Everybody Loves

Raymond, Coach, and many others "But Judy, this sounds like a catch-22. Nobody will give me a break unless someone else gives me a break. What should I do?" It costs a lot of money to produce a TV show and no one is going to risk those millions on an unknown. However, there are other respected fields that welcome newcomers and will give you that all-important first break—theater, radio, public access TV, the Internet. Nowadays it's not enough to just be a stand-up comic or a sitcom writer. You have to diversify, expand into other fields. That way, when you finally do meet with a powerful agent, manager, or producer, you'll be able to say, "I'm a standup comic and I'm also a published writer, I have a regular spot on a radio show, and I'm making a buck on the college market. I would like to show you my comedy reel. It's a compilation of shorts that I wrote, produced, starred in, and directed, which is airing today on channel 52." This gives an agent something to work with.

"I got into sitcoms by writing and coproducing a one-act play with two actors. One of them was living with Danny DeVito at the time and he brought everyone down from Taxi (the hit TV sitcom) to see it, and I got hired to write for Taxi with my partner." i Whether you are doing a one-person show or have a cast of many, workshop your project before you take it public. Director/manager Irene Penn took Sherry Glaser's one-person show Family Secrets on the road for three and a half years before she felt it was ready to go to New York. And how do you know when something is ready? Ms. Penn says, "It's instinct. After workshopping your project, take it to venues that have similar audiences. Since we wanted to end up with a New York show, we took the play to Miami, Fort Lauderdale, Coconut Grove, because most of the people there are retired ex-New Yorkers."

PRO TALK with Michelle Marx, publicist

"Stay aware of what's going on around you that might provide clever opportunities. Be timely. I pitched a show about Richard Lewis giving 'wrong advice' on Valentine's Day to MTV and they went for it. We had people write in weeks ahead for wrong advice. It got. a few weeks of MTV airtime for him and reinforced his persona to our target market."

Become a Produced Playwright Can't get anyone to read your sitcom scripts? Produce them yourself as plays. In 1984 I wrote, produced, and starred in a musical with a cast of eight, Goddess of Mystery. When my play got rave reviews in the LA

PRO TALK with Irene Penn. producer/director

Judy: What's better, doing a play in Los Angeles or New York? Irene: Los Angeles has a certain mold for actresses. If you look like Candy Bergen, you are ready for L.A. If you don't fit into that mold, then take the play to New York because they look beyond appearances to deeper emotional issues. If you are doing an edgy piece, you'll get noticed there.

Become a Published Writer by Having Your Work Appear in Newspapers, Magazines, and Trade Newsletters Being published is very prestigious and none too difficult. A weekly column is a great way to publicize yourself. Every profession has trade magazines. Determine which ones your target audience reads and write a humor piece for them. For instance. 1 wrote an article for the Jewish Journal. In the byline 1 included my contact info, phone number, and e-mail, and 1 ended up getting all the temple mixers I could stand. Hey, it's a living. Dave Barry started by writing a humor column for the local paper. It attracted attention and was rerun elsewhere. One thing led to many others. In 1983 he joined the staff of the Miami Herald. He's also written over twenty humor books and won a Pulitzer Prize for commentary journalism.

PRO TALK with Cindy Ckupack, producer/writer

"I submitted a personal essay to a New York magazine and it got published. My TV writing career was launched when a sitcom producer saw that piece. I eventually got a staff job on the sitcom Coach. Years later my essays, which I had continued writing, were key in getting me the job on IIBO's Sex in the City. I had written Coach and Everybody Loves Raymond, but the only sample that could show them that I could do this show were these essays about dating and sexual ethics. It was those essays that got me the job of co-executive producer." (Note. Ms. Chupack was nominated lor an Emmy for her work on Sex in the (ity.)

Self-Publish Your Own Book You don't have to wail for a big publishing house to publish your book because you can self-publish it or get your work published on-line. Authors generally receive royalties of 7 to 10 percent of paperback sales from major publishers. Self-publishers, on the other hand, can see as much as a 50 percent return on investment; however, that means that the author has to pay in advance for the bookbinding, artwork, publicity, and editing. There are also Internet sites such as www.fatbrain.com that will sell w hat you write over their Web site and take a percentage. For more information on the self-

publishing market, a good resource book is Dan Poynter's The Self-Publishing Manual (Para Publishing, $ I 9.95). Produce Your Own CD Workshop student Amy Borkowsky thought that her overly protective mother's messages on her answering machine were so funny that she played them in her stand-up act. When audience members requested copies of them, she produced a CD of them and created a Web site (wmv.seiidamy.com). Amy eventually took time off from her day job to promote the CD and got a lot of radio stations to play portions of it. Cut to—Any featured in Life, Jane, Mademoiselle, Newsday, and on the Today Slum; Lifetime, and MSNBC. In one year she has sold over a hundred thousand copies of her CD and received offers to develop a sitcom based on her relationship with her mom. As Amy told me, "I didn't do it for the money. The money just showed up. I did it because I really believed in the project and it became a passion for me." Producing your act or short stories on CD is cheap and something you can do on your computer with the right software. (See our Web page for details on producing your own CD.) CDs cost about fifty cents each and are a great adciition to your PR package as well as a great source of revenue.

Become a Regular Guest on the Radio Comic Robin Roberts was hired as a writer and voice performer for D( Rick Dees at Los Angeles radio station KITS FM through sheer luck. "Rick's producer came across my picture and resume, called me, and asked me to record a bit with him over the phone. He liked it, and invited me to join the Cast of Idiots, Rick's staff of radio comics. I got S50 for each piece I wrote and an additional S50 for performing it. Best of all. 1 could do the job over the phone in my underwear."

Be the Star of Your Own Public Access TV Show Have an idea for a TV show but no one will buy it? Do it vourself. Publicaccess really provides the best opportunity for someone who doesn't have the Hollywood package—the agent, financing, and so forth—but is dedicated. With enough time, chutzpah, and sometimes money, anybody can produce a show. People do watch—sometimes even the right people.

Iii 1992, Colin Malone, a struggling stand-up comic, and his friend Dino Everett were working at a video store in L.A. when they decided to create a halt-hour public access show. Colin's Sleazy Friends has hit cult rage status and is now one of the most talked about in southern California, with mainstream celebrities such as Drew Carey and (aneane Garofalo joining porno stars and weird acts. It is one of the few access programs that air in a regular weekly time slot—Wednesdays at midnight, taking away viewers from Letterman and Leno. And now with the help of the True Blue Network and satellite television, millions view it worldwide. If in Australia, check with the Community Broadcast Association of Australia for their production procedures.

gated to watch at least the first three minutes of every tape submitted, the APCA will watch twenty minutes of each tape and return all fees it you are not selected. There are also special college agents who represent comics. They generally take a cut of 15 to 30 percent of the fee. They look for clean one-hour acts that are aimed at the seventeen-to-twentvtwo age range. While Australia doesn't have a college circuit as such, there are thousands of registered clubs. They are not privately owned but arc looselv based around a common purpose, such as sports or unions. Thev often have some amazing facilities, including beautiful showrooms. It is quite common for well-known comedians to put together a 'one night stand' tour through clubs, where the club takes the bar profits and the performer the door and merchandise sales.

Produce, Direct, Star in, and Distribute Your Own Comedy Videos You want to write, act, and direct? So do it. The price of high-quality digital video equipment is rapidly dropping, which means anyone can start their own comedy production company and distribute their videos via the Internet. Trey Parker and Matt Stone of South Park fame created a short Christmas cartoon that they sent as a Christmas video to Hollywood Studios. Cut to—a deal with the Comedy Channel. Writer Eric Kaplan created an Internet animated series for lcebox.com. Zombie College. The series was then bought by Fox Broadcasting Company, marking the first lime a show created for the Net has been purchased by a major television network. After Gene Laufenberg's dark-comedy ten-minute film Sunday's Game premiered on ifilm.com, Laufenberg signed a twopicture deal with Fox 2000.

Become a Successful Corporate Humorist Every day there are business meetings in your area that hire entertainers. If you have material that would be appropriate for a certain company, contact that company directly One of my students was the greeter at Banana Republic. She based her stand-up act on her job. I suggested that she ask her boss to let her do five minutes at their next corporate meeting. She killed and went on to do national Banana Republic meetings for the big bucks. Another student, Ann Lippert, had a routine about shopping at Home Depot. She submitted her tape and got a gig at their Christmas party. When calling a company make sure you are giving your spiel to the right person. Ask for the event planner. Usually someone in Human Resources will know who that person is.

Become a Star in the College Market or on the Club circuit The college market books acts based on talent, not connections. Anyone can submit a tape to the NACA (National Association of Campus Activities, ivnnv.naca.org) or the smaller APCA (Association for the Promotion or College Activities, mm.apcaxom). Both organizations arrange showcases directlv with the college buyers; they have regional conferences; plus they both meet once a year at a national conference. Campus buyers attend the showcases looking for entertainers, agencies, presenters, and services for their school programs. Performers can submit a video after completing an application and sending in a fee. The organizers at the NACA are obli-

Submit Jokes to Greeting Card Companies Many greeting card companies pay for jokes and create the artwork (hemselves. There are many card companies on-line, such as bhiemmtntain.com and tinkpeards.com. Contact each company to find out their submission procedure.

PRO TALK with Rob Lotterstein (When sitcom writer Rob Lotterstein was just siarting out, he wanted to find a professional working writer to read his spec script.) "1 called (eft Stepakoff, who was a working TV writer. I met him because my It's nice if your aunt Edith thinks your spec script is really funny but it's

friend Larry had a friend named Mark. Mark was friends with this guy

fantastic if the executive producer of a hit NBC] sitcom feels that way.

David, and David's girlfriend's best friend, Michelle, grew up with Jeff.

Unfortunately big shots will return a call onlv if

I got his number from Michelle and said 1 was Michelle's friend. He was very happy to hear from me, read my script, gave me tips, and

•

you're a name who's already making gobs of money

introduced me to other people in the industry. Everyone is connected

•

they saw vour schtick or read your script and liked you

to someone in the industry."

•

you're introduced to them bv someone they know and respect

•

you're a relative

•

you're a friend of a relative

•

vou're a friend of a friend

m

vou give sexual favors freely

W a r n i n g ! D o n ' t do t h e "Six Degrees of S e p a r a t i o n " exercise (page 3 2 8 ) until you are ready a n d are really good, otherwise you will b u r n contacts—fast.

"There are never any industry VIPs in the audience on open-mike night at Shakey's Pizza Parlor, and my relatives are all in the heavy farm equipment business. How will I ever get an introduction to a big shot?"

PRO TALK with Richard Lewis " M y first break was meeting David Brenner at the Improv in New York and we became fast friends. He taught me a lot about the business and

There are only six degrees of separation between you and the head of comedy development at ABC. The trick is to find the right six people.

kept me from foolishly burning bridges. l i e advised me to wait six m o n t h s before coming to the Improv and to go perform in some of these hellholes. I would drive hours to do five or ten minutes—and do

"But shouldn't 1 get a real agent first before I approach these people?"

it night after night. After six m o n t h s I did an open-mike night at the Improv and 1 was head and shoulders above the rest of the group.

The people who are your six degrees ol" separation can be agents, but most successful people make things happen before they get an agent.

Don't burn your bridges needlessly. Give yourself some time to perfect vour craft."

You're much more attractive to an agent if some VIPs are already nuts about you. W h e n y o u go after t h e big shots, m a k e sure y o u have y o u r p e r s o n a nailed a n d y o u r material d o w n . W h e n David L e t t e r m a n was w o r k i n g t h e C o m e d y Store in H o l l y w o o d , he was m a n a g e d by Buddy M o r r a . B u d d y would watch L e t t e r m a n ' s act every night a n d w o u l d n ' t let a n y o n e see h i m for years. He m a d e sure he h a d developed his own style a n d felt confident before he brought a n y VIPs to see h i m .

PRO TALK with David Letterman, talking in Esquire about Jay Lena's impact on his work

"Well, you go 10 the Comedy Store night after night and you see these people, like yourself, floundering to develop an identity One night I saw a guy named Jay Leno onstage [and] I thought I just might as well go home. Because his attitude and his style were so crystallized and so right on the money and he had such good observations. I mean his entire life and existence seemed to be a set-up and then he would provide the perfect punchline. I thought, 'Jeez, that's the way it ought to be done.' So I really started patterning my material after him."

Warning! Do not contact big shots until you are ready. Look at all contacts as a one-shot deal—blow it and you don't get a second chance. So make sure you are ready to give it your best shot.

PRO TAIK with Cindy Chupack, producer/writer

"Sometimes when I've really critiqued a script the writer will say, 'Can I give it to you again after 1 do the rewrite?' Then it becomes this ongoing job for me. When you give someone a script, that's your one shot, and just take whatever advice or critique they can give you. If they like it, try to find out if there's anybody else that they think you should send it to. But unless they offer to read a rewrite, don't ask them to read it a second time."

are that good, you're doing them a favor, since discovering vou makes them look real good.

Have you ever been frightened to call up someone? Phone phobia is normal. Sure, it's easy when you're making a request on someone else's behalf, but self-promotion is hard. Yet you must make an attempt to build personal relationships with the movers and shakers in show business. That means you have to get off your ass and get on the phone—but don't be an ass on the phone.

Getting Past the Secretary This is one of the weirdest ways I bypassed the secretary. M£: This is fudy Carter. I would like to talk to Mr. Big Shot, please. SECRETARY: Can I tell him what this is regarding? M E : I need to talk to him personally. It's regarding his lab test results. Faster than I could say "herpes," I was on the phone with Mr. Big Shot. But misrepresenting yourself can open a whole other can of worms. Honesty is the best policy. Here are some tips on calling the big shots, from my publicist and friend Michelle Marx: • • •

Exercise: Six Degrees of Separation Game Ask or e-mail all of your friends, relatives, acquaintances, and one-night stands for any information about anybody that they might know in the entertainment industry. Spend some time working on your approach so you seem professional. They might not know anyone but might know someone who knows someone who knows someone. Any tip or introduction will help. Gather your contacts and call them. Look at it this way. If you realty

•

Don't go barging into people's offices. "Hello, Security?" Don't be overly annoying. Remember that everyone's very busy. If someone doesn't pay attention to you, don't take it personally. Realize they are busy or don't care—yet. Don't get bent out of shape and mail them a dead rat just because they didn't return your twenty phone calls. You might not have a life, but they do. Be pleasantly persistent. Keep up a stream of e-mails, press releases, flyers, anil faxes, but make sure they are professional, to the point, and friendly. Then give the people freedom to respond in their own lime, even if it does take a couple of years. At least you are getting your name out there.

• •

•

If you catch them and they arc busy, gel oft the phone and leave them alone. Yon don't want to get a negative image. I lave your six-degrees-of-separation person call the big shot first and rave about you. If your contact won't do that but said that you can use her name, then use it all that you can. that contact—who is the second cousin of your ex-boyfriend, who lives around the block from your high school algebra teacher—is not just an acquaintance but your best friend. "Hello, my name is Joe Nobody and I was referred by my good friend Susie Somebody. I believe that Mr. Big Shot is expecting nay call." And finally, to get to Ms. or Mr. Big Shot, become best friends with the secretary. Treat all secretaries as if they are the most important people in the world, because at this point in your career, they are. All showbiz secretaries are moguls in training. It's to their benefit if they find the next big comedy Star and bring her to their boss's attention.

Finding the Right Agent Trying to find the right business agent, manager, or producer for your career is as difficult as marrying the right person. There has to be chemistry. Not everyone will like you. When 1 first attempted to get an agent for my first book—Stund-up Comedy: The Book (Dell Books, 1989)—1 was rejected by everyone. And 1 do mean everyone. They all told me the same thing: "This book has too narrow a focus." But I found an out-of-work book agent in my Weight Watchers meeting who liked the project. She submitted it to every publisher and it was rejected by everyone—except one. The book is currently in its seventeenth priming and has had a shelf life of over twelve years. It only takes one person. You have to find that one person. Before you approach an agency, research the company. Know everything about them—their clients, their successes, their failures. Not everyone is right for you and you have to know which agents will represent vour "brand."

PRO TALK with Bruce Smith, president of Omni pop Agency

"Mv preference is for them [comics] to approach us knowing as much about the company as possible. I am flattered and immediately become stupid. 'Gee, 1 had no idea you knew so much about us . . . ' I'm just ga-ga that somebody actually did their homework. Half the time, people send out form letters, head shots, and tapes to a million places, and there's nothing personal about it. It's like a hooker offering to sleep with you."

Exercise: Selling Yourself to an Agency Before you pitch yourself to a manager or an agent, you need to see yourself as they do—a commodity. In this exercise, you are going to recreate an agency's staff meeting where they decide on new clients. Gather four or five friends and have them pretend to be agents at a staff meeting. You're going to pretend to be an agent as well, someone who just saw your act or read your material, and you're going to pitch win fellow agents should sign you up. It could sound like this: "1 just saw this comic who is doing some very edgy material that really appeals to a young audience. A lot of his material is about being a high school teacher and I can sec sending him out on the club circuit to develop his material and then cashing in on him in a sitcom—sort of a cross between Friends and Welcome Bock, Kotter." Have your fellow agents ask questions about this prospective client, such as • • •

I low are you going to make money with him/her? What is his/her vision of where he/she wants to go? What's his/her overall attitude?

If you find it hard to pitch yourself, you might find it easier to start this exercise by pitching someone who is established. If you just saw a new comic named Robin Williams, how would you go about pitching him? What to Do When You Get a Big Shot on the Phone When speaking to Mr. Important Person Who Can Change the Course of Your Career, do vou ever feel stupid? When you get off the phone do you

want to slam y o u r head i n t o a t r a s h c o m p a c t o r ? T h e n before yon ciial that number, y o u better plan w h a t y o u ' r e going to say after "hello."

Carter's 7 Steps to Successful Negotiations 1.

W h e n you call a VIP, have a short and w i n y introduction of who you are and what you want, mentioning the person who recommended you. Practice with a friend before you make the call. Do not make any big requests at this point, such as, "I want you to sign me to your agency." You can say, "I want people such as yourself to be aware of what I'm doing

7.

watch my video?" "Can I put vou on the com]) list for my show?" It would not be appropriate to ask in an initial conversation, "Will you represent me?" or, "Would you invest in mv project?" Go for something t h a t can get an easy yes. Make your request time a n d date specific: "I will messenger my tape over this afternoon." Push for a specific time and date: "How about if I call you on Friday at two P.M.?'' I low many times have you got off the phone with someone who sounded really enthusiastic and then nothing happened? You probably got a "Hollywood no." Unless you get a time and date c o m m i t m e n t for the next step, they might as well have said no.

because I'm looking for representation." Or, "I'm looking to get into the p u b or club circuit.'' 2.

Ask them, " W h a t are your concerns?" This will create an opening for them to give vou the negatives, which is important information for vou

3.

S a c r a m e n t o . T h e y liked my t a p e , b u t were dragging their feet a b o u t booking m e .

concerns. Instead, mirror them. For instance, let's say Big Shot says,

T h e s e were Ms. Big S h o t ' s concerns: "|udy, we like what y o u do b u t

"There isn't a lot of work for women in your age range." It's very difficult

q u i t e frankly, last t i m e we h a d a comic, we really d i d n ' t have a very big

n o t to take this sort of comment personally, but rather t h a n defending

turnout." I mirrored her. "So, y o u ' r e c o n c e r n e d t h a t y o u ' r e n o t going to get a big t u r n o u t a n d y o u ' r e n o t going to sell tickets. Is t h a t right?"

to defend ("Rut there are a lot of women getting work in my age group").

"Yes, it is."

Everyone wants to be heard and taken seriously. Very often, once some-

"Any o t h e r c o n c e r n s ? "

one really believes that you've heard what they said, their concern van-

"Well, we lost, q u i t e frankly, we lost m o n e y last t i m e . "

ishes. If you can truly mirror someone's concerns back to t h e m it makes

I said, " O h , h o w m u c h m o n e y d i d y o u lose?"

you powerful—as long as vou do it without whining, crying, or defend-

And she said, "Well, we c a m e o u t a b o u t seven h u n d r e d a n d fifty dol-

ing. By the way, this also works well with any relationship. Go for com-

lars s h o r t . "

plete understanding first.

"OK, got it. Any o t h e r c o n c e r n s ? "

Empty them of their concerns. " D o you have any other concerns?" "I'm

" N o , t h a t ' s it."

very busy now a n d have a stack of papers on my desk and don't even

I t h e n repitched, t a k i n g i n t o c o n s i d e r a t i o n h e r c o n c e r n s : "Well, in

have time to look at new people." And mirror those concerns back, "I get

g e t t i n g people to c o m e , I can supply y o u with all t h e postcards a n d flyers

that you are an extremely busy person."

plus a list of t h e places w h e r e t h e y s h o u l d be p u t . A n d h o w m a n y people-

Only after you have emptied Mr. Big Shot of his concerns do you

did y o u have c o m e to t h e show' last y e a r ? "

rephrase what you want, taking into consideration their concerns. "I get that

"Five h u n d r e d p e o p l e . "

you are very busy. I could send you my short, eight-minute video, which

"So, y o u h a d five h u n d r e d people c o m e , a n d h o w m u c h d i d the comic

would knock your socks off. Then, if you want to see more, I could send

6.

It was a job for a o n e - h o u r concert at a w o m e n ' s business g r o u p in

Repeat their concerns to them. Never defend, a n d never address their

are jobs in my age range? Is that what you mean?" Resist the temptation

5.

from " c o n c e r n s " to signed contract in fifteen m i n u t e s .

to have.

yourself, mirror their concern back to them. "So, you don't think there

4.

H e r e is a real-world example w h e r e I used this t e c h n i q u e a n d I went

charge y o u ? "

vou the longer one. I find that there is a large market for what I do, espe-

" T h e c o m i c charged us last y e a r fifteen h u n d r e d dollars."

cially because I'm getting a buzz from my weekly radio show and mv col-

1 said, "And y o u lost seven-fifty."

u m n in the Pasadena Weekly."

She said, "Yes."

( i o in for a request. Make this a small request. "Would you be willing to

I said, "I'll tell y o u w h a t . . . how a b o u t if I charge y o u seven h u n d r e d

and fifty dollars less, so that if you have the exact same number of people come this year, you won't lose anv money? So, I will only ask you for a guarantee of seven hundred and fifty dollars. Anything above and beyond that, I will take eighty percent of the door. Do you agree to this?" "Yes, I agree." I faxed her a contract and within fifteen minutes, I had a signed contract. This way, 1 addressed her concerns, creating a win-win situation where she knew that she would not take a loss no matter what. End result—the concert was totally sold out and I came away with 80 percent of the door, amounting to $2,700 for my show. Both of us ended up extremely happv.

"Wlien someone wants me for a gig, how do I figure out what to charge

them?" There is no one right price for a gig. At the beginning of your career don't expect more than a burger. But if you are making people laugh and are fairly clean, someone will soon ask you how much you would charge to do your act at their event or to write something for them. Don't talk money until vou're clear on what exactly it is they need and what their budget is. 1. Ask them what they want you to do before talking money and get them to be specific. If they say. "I want you to perform at a roast for my dad," questions should include

The Hollywood No In 1 lollywood no one wants to blow someone oil, because down the line, they might end up being a big star. You need to understand the dynamics ol (he Hollywood no. It someone says, "I'd love to watch your tape," but you can never get them on the phone again, most likely you've been given a Hollywood no. Stop calling them, but still pursue these people by keeping them in your information loop via e-mail and faxes. You never know when a Hollywood no will turn into a Hollywood maybe somewhere down the line.

PRO TALK with fudi Brmvn, talent coordinator for U.S. Comedy Arts Festival (Aspen)

• • • 2.

—How much time do you want me to do? —Do you want me to also MC? —Do you want me to write custom material?

Ask them, "What is your budget?" "We can give you $500." "My usual fee is $750. How firm are you? I low about meeting me halfway? Do you

have a budget to pay for my writing and MCing fees?" '3. If they won't budge on the money, go for some perks—not stock options, but small perks. If they won't give you more money, maybe they will give you an extra dinner for a friend, a hotel room, gas money, a hooker. 4. Fax or e-mail them a contract or a deal memo within lifleen minutes. Don't give people a chance to think and change their minds. You can download different contracts from my Web site at KKK.cometlyivorkshopS.com.

"If somebody shows an interest in you, keep in contact with them. Send them a lhank-you card. Send them an update. 'I'm doing this, I'm doing that . . . ' Nurture that relationship and always keep them in the loop. You never know when they might have something for you." It takes a lot of work to get one gig. And just as you want to have many hits off one setup, you want to roll that one job into many.

Negotiating for yourself doesn't have to be a traumatic experience if you use the seven-step negotiation formula above.

1. Promote everv job that you have. Club owners love comics who bring in customers. Inform the booker in writing of all the work that you are doing to promote the gig. 2. Book a return engagement before you leave. Even if it's a year away, don't leave without getting back into their calendar.

3.

Request a "happy letter" from them to include in your PR kit. Make sure you send a SASE for dieir convenience. Sometimes after working at a corporate event, I get e-mailed compliments from people in the audience. I then ask them to fax me their blank stationery and permission to reprint their praises on (heir stationery to include in my PR kil. 4. Ask for referrals. If you did a good job for someone, ask them if they have any associations, friends, clients, and so on who would enjoy your act. 5. When performing out of town, send local agents, speaker bureaus, and college bookers free tickets to your show and schmooze with them afterward. 6. Write at least one thank-you note a week to the people in vour life—your family, your friends, and that person on the street who gave you a quarter for the parking meter when you didn't have any change. Then move that appreciation to the people in your career. That agent who got you a job, the waitress who took the time to give you feedback on your act, the secretary who took the time to give you an address where to send your tape. The more you appreciate what you have, the more you will have. I am mentoring a fifteen-year-old high school student who has a lot of reasons to be resentful about her lot in life. She has no father and lived in one room in a motel in Compton with her four siblings and her mother, who was on welfare. By writing one thank-you note a week, she went from a whiner to a winner. Sometimes she's had to scour a dismal week to find that one person. But no matter how bad things were, when she looked hard enough, there was always someone to thank. She told me how people responded to her notes of appreciation: "They cry with happiness." She has learned a very important lesson in life—to get it, you have to give it.

PRO TALK mtli fudi Broivn, manager

"A good friend of mine, George Lopez, just walked out of a comedy club with thirty-five thousand dollars. It was all about him building the [HispanicJ market, building the price in the market, and continuing to come back to a comedy club every six months. Find your market and do everything to promote yourself because club owners will continue to reward you if you can prove that you are a draw. Even if you're featuring [middle act], if you sell tickets and bring people into the club, the club owner will reward you and in years to come you could find yourself cutting eighty percent door deals."

You want to gel noticed? Notice others. II I did it all over again, one thing I would do differently would be to connect more and be more giving to others. When I started out, I was self-absorbed, needy, and insecure. Good qualities for comedy, bad lor friendships. I viewed other comics as my competition rather than as my comrades. I didn't help them with their acts; I hoarded my audition tips as well as my accolades. 1 wasn't a bitch, I was just scared. Or maybe I was both. Energy needs to flow from the comic to the audience. They've paid for you to give it to them. So many comics are so desperate (or attention and jobs that they become energy vampires on and off the stage. They are looking outside themselves for fulfillment and compliments. Some even need the audience to give energy to them. But if a comic comes onto a stage or into an office needing, they will not get anything. And even if they do get something, it will never be enough. Have you ever had a great set but your focus was on the one sour face in the second row? I learned on one cold, snowy New York night that taking the time to notice others is the key to real success. I was die opening act at New York's Bottom Line for the Roches, a band that was on Saturday Night Live a lot. The audience was full of showbiz VIPs who schmoozed and talked loudly while I was onstage. I made some jokes about it to the civilians in the first row, but the big shots continued to talk during my act. And if that wasn't bad enough, when I got offstage I found out that the club owners had let these VIPs in and kept ni)- seventy-five-year-old aunt Edith and her family standing in the snow outside. I went backstage in a fury. A woman asked me, "What's the matter, honey?" I burst out crying. She pulled me into a small backstage bathroom. This complete stranger sat on the toilet in this tiny New York cockroach-infested bathroom, holding me on her lap while 1 sobbed on her shoulder. "That's OK, honey. I know how hard it can be." When I looked up I realized, "Oh my God, you're Gilda Radner." At that time. Gilda was a big star on Saturday Night Live. She was there to introduce the band, but took the time to care for a complete stranger. Gilda Radner died of ovarian cancer in 1989.

How do you want to be remembered? Some of (he people reading ibis book will become stars, be written about, and be the butt of other comics' jokes. But sometimes it's the little moments, when we take the time to recognize others, that we truly are a superstar.